Initially, I’m usually concerned with creating a kind of super- shape in a composition; a shape that is the largest and divides the field in a decisive manner.

While doing this, I’m acutely aware of the edges of the field, and where/how shapes meet the edge and each other. Figure-ground reversal is present in all my pieces, so the negative shape created by whatever shape I am making is as important as the positive.

My color choices depend on what I want the color to do; advance or recede, meet another shape and merge into a field, etc. I like working with harmonious colors and color schemes with tightly related colors.

 I like to play with different spatial cues in the same painting. My pieces are all made in the moment; I love the challenge of working the whole piece with the end result being unknown, much like keeping a bunch of spinning plates all in the air at once. Everything depends on everything else. Every part relates to the rest.  A painting is built, one passage upon another.

I want people to be led into the mystery of things; that mysterious, imaginative things happen.

My strongest influences have been Stuart Davis, Paul Klee, Wassily Kandinsky, Arthur Dove and Charles Burchfield.

Teaching allows you to exercise a beginner’s mind. If you’re doing it right, your students will be excited and encouraged.

 

 

 


Jennifer Wiggs, 2015