the work was influenced both literally and by an emotionally-driven narrative as most of my pieces are. the literal portion of the work is based on the topography of the topa topa mountain range and the way the sun illuminates it every morning with golden light—the dry earth and layers of minerals have endlessly inspire me. the object of DEVOTION was a bit more of a personal grappling, how does DEVOTION outside of one’s self actually work? what are the constraints of loving another person, of commitment outside of the commitments you hold to yourself? how do both live together—and is that possible? i don’t know that any of these questions received a full answer in this work, but what i do know is that each time i returned to the table to paint this particular piece, it felt like a sense of homecoming and union.
the other element in this work is that it was painted from both sides to facilitate the linear nature of it. painting lines on both sides felt particularly appropriate to this work, as a study in how two separate entities eventually come together, and of managing, artistically, those points of connection, which are by nature imperfect. to me, DEVOTION is a meditation on the nature of love, connection and moments of intersection. it’s a counterpoint to LOVE STORY, on view in the sparkleverse.