During the summer of 2007, I spent six weeks at Global Artists' Village, an artist residency program in New Delhi, India. I found it hard to work there, making only four small paintings. Part of this was due to difficulties locating and procuring art supplies. The quality of the acrylic paint I found there was not good and the heat made every outing a sweaty trial.
I was both overwhelmed and exhilarated by the scope of the place: So many people, so much history. Everything seemed to be magnified under the relentless surveillance of the sun. My senses went on a holiday and visited districts of magenta, saffron and chartreuse. I followed a trail of fragrance and found jasmine, cardamom and cow dung. Excursions were punctuated by bursts of Punjabi hip-hop music and small, pleading hands unfurling from the dusty faces of street kids.
Indians are in love with being in love. Coupling is an ancient and complex dance. In the suite of paintings made in India and the ensuing body of work, I have used ornamentation to reflect the intricate social mores and underlying sensuality so apparent in Indian culture--especially that which affects women. Decorative motifs appropriated from textiles, trims and laces provide the structural basis of the imagery.