Rachel Davis's work is notable for evoking a strong mood and often a story. We many not know what the story is as there are things left unsaid, urging us to linger and discover more. There is a sense of history and mystery, of things revealed and concealed, sometimes simultaneously. The tension between light and dark, connection and loneliness is central to her work. And then there are the times she allows herself to just play because it's a blast. The freedom she claims to move back and forth between genres and moods is central to keeping joy at the helm of her creative process.
I'm happiest in a messy studio. Lost in the moment, time slipping away, internal chatter silenced - inspiration is free to sneak on in. As someone who used to spend hours obsessing over placement of a single brushstroke, it's thrilling to take my hand out of the process altogether, and allow a found paper, a lifted off happy accident from a previous piece, or some gouging tool do the talking. Ikebana (Japanese flower arranging) has been a deep and joyful passion for twenty plus years, and the aesthetic principle of Wabi-Sabi, beauty in imperfection, informs my art practice daily. Lately I've been exploring the question of who gets to decide what's beautiful, and how to hold onto your own vision when it doesn't line up with that of others.
Richard Diebenkorn is an artistic hero to me. He refused to be labeled, traipsed fearlessly across media and genre, wherever the muse led him.
As a practicing psychologist, I am endlessly fascinated by what's beneath the surface. I bring this fascination to my work as an artist.