Emily Ellingsworth - Sep 2017
I paint strangely juxtaposed elements to create unusual harmonies. Every part of my process is about relationships. I combine disjointed components then search for ways to connect them. I think about dichotomies, dualities, and continua. I avoid the obvious choices, as revelation and wonder are crucial parts of my process.
I stay in the present moment while working. I look and react. I’m bold and aggressive. Though my actions are quick, intuitive, and uninhibited, my paintings show a slow course of action. They have a history of layers woven in and out of each other. Previous layers peek out from behind more recent marks.
I use my whole body to paint and move the paintings around my studio. The compositions must be dynamic from across the room, but the details are more exciting to me.
I create these details by butting loose, broad strokes against careful printing techniques, intentional marks next to poured drips, one mark passing over several textural surfaces. Sometimes I move brushes; sometimes I move the painting and let gravity move the paint.
I like pushing to the edges and finding subtlety within the nuances of the following scales:
color (dark/light, cool/warm, dull/bright, transparent/opaque)
physical and visual texture (thin/thick, smooth/relief, small shapes or marks/big shapes or marks)
approach (makes sense/slightly confusing, control/chance, additive/subtractive, geometric/organic)
I make sure both ends of each one of these spectra are represented. The relationships between these elements create tension and cohesion.
I always change my clothes to paint, physically stepping into my creative process. I am a laborer with a series of tasks to accomplish. I seek to achieve as much contrast as I can manage inside a harmonious world of colors, textures, and layers.