ARTIST STATEMENT
Joy Patty [email protected]
http://www.joypatty.weebly.com
Art inspiration comes from everywhere, everyday, and hard to define exactly. Since childhood I have been curious about art—various materials as well as the emotion that art evokes. I find deep meaning in a range of art periods and styles and it’s glorious to learn about all of it. In my own practice I am most drawn to non-objective abstraction to capture the essence and color. A big thing for me is to be free from portraying specific imagery to create on my own, inspired by color, lines and movement, patterns in nature and textiles, impressions from neighborhood walks, travel, and architectural remnants. My current method involves working on several pieces at once, aware that layering is a big part of the process. Using a variety of media— graphite, charcoal, oil pastel or tempera sticks— random mark making is the start, then dark paint for contrast and structure, followed by color. As a direction emerges, I often use white for controlled editing. Sometimes surface interest is enhanced by adding bits of collage and using nontraditional tools such as trowels to smear colors and to scrape back into areas to reveal what’s beneath.
Joy Patty [email protected]
http://www.joypatty.weebly.com
Art inspiration comes from everywhere, everyday, and hard to define exactly. Since childhood I have been curious about art—various materials as well as the emotion that art evokes. I find deep meaning in a range of art periods and styles and it’s glorious to learn about all of it. In my own practice I am most drawn to non-objective abstraction to capture the essence and color. A big thing for me is to be free from portraying specific imagery to create on my own, inspired by color, lines and movement, patterns in nature and textiles, impressions from neighborhood walks, travel, and architectural remnants. My current method involves working on several pieces at once, aware that layering is a big part of the process. Using a variety of media— graphite, charcoal, oil pastel or tempera sticks— random mark making is the start, then dark paint for contrast and structure, followed by color. As a direction emerges, I often use white for controlled editing. Sometimes surface interest is enhanced by adding bits of collage and using nontraditional tools such as trowels to smear colors and to scrape back into areas to reveal what’s beneath.