When I first considered the idea of working freely with forms in my paintings, I tried to use epoxy resins. I had experience working with fiberglass and resins from when I built boats as a summer job while I was in school near Lake Michigan. But the resins didn’t work. The paintings were prohibitively heavy and brittle and I couldn’t control the color. Additionally, the materials were hazardous. I nearly set my studio on fire once when I put too much catalyst (MEK) into the mixture. In terms of process, I draw and sketch all the time. I am constantly experimenting with gestures and forms, relationships and color. I usually make small paintings first. I think of them as finished paintings but they also inform the larger works. My large paintings are a huge investment in time, effort and materials. Some of them consist of 10 to15 gallons of paint. One part of my studio is set up much like an arena. I paint on the floor walking around the work. I often make brushes out of large floor mops or brooms. The act of painting is much like a dance.
Valerie Brennan
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| Pigeon Lake, 2012, Polymers and dispersed pigment, 83 x 45" |
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| Studio View |
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