“In batik the image and the cloth become a fully integrated thing. There is no surface decoration in batik. The image is established in the fiber of the cloth. I find that to be a very powerful idea.”
“I discovered the wax resist technique of Batik many years ago with the help of an early art teacher, and I returned to it in the late 1980’s with the goal of realizing its untapped potential.
Batik’s origins lie in fabric design, so it participates in the world of craft where the object is meant to contribute a sense of grace and beauty to peoples lives. I try to bring forward that tradition of elevating the commonplace and utilitarian object, using it as a support for the imagery I develop to show batik’s potential as a fine art.
In batik the image and the cloth become a fully integrated thing. There is no surface decoration in batik. The image is established in the fiber of the cloth. I find that to be a very powerful idea.
Batik painting presents many challenges for me and the sense of exploration and adventure engage me as I pursue the skills required for its mastery. But batik has also offered some surprising solutions. It created an escape valve which allowed me to access different areas of image making which I never considered using traditional painting media. These new freedoms and restraints now provide the place where my personal style can develop.
Coming out of the world of craft, batik appeals to me in so many ways: as communal, as beauty in the utilitarian, as an anti-elitist alternative. Batik is undiscovered territory. It has magical qualities of obscurity and revelation. The finished work is only seen in its entirety at the very end of the process, when the wax is removed and the image revealed.”