The paintings in Lovely Disasters reference natural forms, drawing on structures and growth patterns such as those found in bacteria and viruses, insects, fungus, and mold. In an invasion of mold, an aerial view of a destructive algal bloom, a parasitic insect, or a microscopic view of a deadly disease, can be found an unexpected and often unsettling loveliness, even as a persistent life form takes over and compromises or destroys another often much larger body.
The paintings examine the interplay between the fragile, delicate elements that propagate amongst the larger structures. The larger forms are broken up by smaller ones, from which bulbous nodes cluster and delicate tendrils sprout, weaving themselves through the larger body and disrupting it, causing it to change shape and direction. The images often begin with symmetrical forms that droop, sag, and drip, as they grow outward, and are invaded by the growths proliferating throughout. They float, hover, or move through color that shifts and seeps through them, allowing the forms to emerge and recede in a space that elicits the deep-sea, satellite views of earth, nebula, or even a Petri dish.
The work explores ideas of growth and disruption, and the paintings themselves develop organically. Each mark or line dictates the next, allowing the addition of each new element to reshape the form and set a new course for its growth. It celebrates the potential of living organisms to contain both destructive power and unexpected beauty.

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