ingrid, 2007
12" x 14"
oil on canvas

notorious, 2008
12" x 14"
oil on canvas

blue ingrid, 2008 12" x 14" oil on canvas

suspicion, 2008
oil on canvas

the wrong man, 2009
12"x24"
oil on canvas

casablanca, The Kiss Series, 2007
12" x 14"
oil on canvas

casablanca (detail), 2007
12" x 14"
oil on canvas

roman holiday, The Kiss Series, 2007
12 " x 14"
oil on canvas

roman holiday (detail), 2007
12" x 14"
oil on canvas

west side story, The Kiss Series, 2007
12" X 14"
oil on canvas

west side story (detail), 2007
12" x 14"
oil on canvas

fay, The Kiss Series, 2007
12" x 14"
oil on canvas

1.18.01.10, Screen Test Series, 2003
24" x 40"
oil on canvas

02.07.18.06, Screen Test Series, 2003
24" x 48"
oil on canvas

1.35.50.10, Screen Test Series, 2003
24" x 40"
oil on canvas

Screen Test Series, 2003
24" x 40"
oil on canvas

14.23.06, Screen Test Series, 2003
24" x 40"
oil on canvas

rosemary, The Heart Rate Series, 2005
12" x 24"
oil on canvas

becky vs. the body snatcher, The Heart Rate Series, 2005
12" x 24"
oil on canvas

elliott, The Heart Rate Series, 2005
12" X 24"
oil on canvas

droogs, 2005, The Heart Rate Series
12" x 24"
oil on canvas

Paintings

“A particular sort of picture seems to be in motion even while it does not move, seems to be showing a much larger section of time than it can contain, and seems to invite out participation in the movement of its potential narrative.”

-Anne Hollander

Work in this portfolio include pieces from various series from 2003 – 2009.

Screen Test

Upon graduating from NSCAD in 2003 my work explored technical elements of film and DVD technology. Using the film North by Northwest by Alfred Hitchcock, I addressed editing with the use of dissolves. I focused on these moments of transition, and in doing so, examined the sensitivities of optic perception and the seemingly unseen. Due to its fluid nature and uniqueness to film itself, the dissolve is considered to be a characteristic of ‘pure cinema’. Hitchcock, thought to be a master of pure cinema, utilized this form of editing frequently.

The Kiss Series

Using the American Film Institute’s list '‘100 Years, 100 Passions’', the moment before the first kiss in each film is depicted. Negative space in the painting becomes its own character, giving a tangible presence to anticipation and anxiety.

The Heart-Rate Series

Using a list published by the American Film Institute entitled 100 Years, 100 Thrills: America’s Most Heart Pounding Movies, I examined the emotional impact of viewing film. With a heart-monitoring device, I pinpointed the moment where my heart-rate jumped the highest and subsequently recreated these images in paint. This self-reflective experience brought forth a series that revealed my fears, phobias, and excitements, as well as a look at subjective experience in a highly objective framework.