Dimensional Wall Art

A dimensional artwork incorporates depth as a third plane of dimension alongside the usual aspects of height and width. Compared to traditional, flat two-dimensional artworks like paintings or drawings, dimensional wall art extends outwards from the wall, filling a volume of space rather than constituting the surface of a flat plane.

These paintings were borne of a desire to playfully experiment with new materials, expanding my visual identity as a painter beyond the traditional two-dimensional surface. By including new materials and new methods like draping, sewing, and tucking elements within my paintings, I use these paintings to explore how materiality and physical depth can fundamentally transform the emotional experience of a painting.

These works extend my practice as a lyrical abstraction painter, where intuitive mark-making and atmospheric color create an emotional, rather than literal, experience of remembered places.  Dimensionality adds another layer of discovery.  A lot of my dimensional paintings utilize textiles to add substantial layering, which can soften, obscure, interrupt, or extend beyond the traditionally painted surface, while folds, seams, unfinished edges, and overlapping materials introduce shadows and shifting tonalities that alter as the viewer moves relative to the artwork. The painting evolves from something to simply observe and becomes something to intentionally engage.

My textile wall art pieces include a range of textile-based experimentations. I approach each work as an exploration of what happens when painting moves beyond the confines of a traditional stretched canvas. Some works are stitched canvases, constructed of fragmented canvas scraps and fabric remnants, featuring raised ridges, raw edges, and visible seams to lend structured, sculptural depth to the painting field. Others I refer to as dimensional layered paintings, wherein veils of sheer dyed textiles are intricately tucked and layered to partially obscure the underlying painting and/or project beyond the traditional picture plane. Still others present as loose drape paintings on repurposed dropcloths, softly gathered and left to drape, allowing gravity to influence the final form presented to the viewer.

Regardless of their form, each approach defines a new relationship between surface and depth, revealing how variations in material and light versus shadow alter our perception of color and form. Each piece invites a move closer.

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