MF: Can you talk about the title of your series Linear Movement? What does that title mean?
LPW: Linework is central to my work and I wanted to find a title that reflected that; I ended up having to look no further than my record collection for inspiration...
MF: Where do find your influences for these works?
LPW: Music, popular culture, art history and film play a major role in influencing my work. I love illuminated manuscripts, zines, graphic novels, Japanese woodcuts, Surrealism, Pop, and Dada. As far as individual artists go, I love Eduardo Paolozzi, Inka Essenheigh (particularly her work in enamel), Robert Rauschenberg, Clyfford Still, and Yves Tanguy.
MF: What compelled you to work with the materials in the series?
LPW: For awhile, I had been working on these very large, expressive, figurative oil paintings. My work was already heading in a more abstract direction, but I was rapidly falling out of love with it. It was like the end of an affair. The act of making these paintings wasn't mentally or physically fulfilling and I no longer felt engaged with the process, so I stopped. My artistic influences had also shifted, so I was looking to do something that was stylistically different. I immediately gravitated toward drawing mediums because they radically changed my physical relationship with the work, giving me a greater sense intimacy and technical precision that I found immediately attractive. I later came back to painting because I was interested in working on wooden panel. Sculpture was just another means of seeing how the compositions would evolve across different mediums.
MF: Can you talk about the sculptural piece? Is this a direction you are looking to expand upon in future works?
LPW: The sculpture is made of thin layers of plexiglass, wood and bronze so that it can hang on the wall as a painting or drawing would. I made the whole sculpture using traditional wood and sculpture shop machinery, so I had to sacrifice some of the details that were typical of the drawings and paintings. I'm definitely interested in making more sculptures in the future. I've been experimenting with converting the drawings into graphics that can be read by machines which would expedite the process of creating the sculptures and (more importantly) capture some of these finer details.
MF: What’s the next step for you?
LPW: Right now, I'm living, working and making art in Houston. I'm in the process of getting things together to relocate to New York. In the spring, I'll be starting the MFA painting and drawing program at Hunter.