PROCESSESIconographic layered surfaces are built suggesting ethereal landscapes of trees, leaves and rock. Life cycles and watery curves, field guides that are part memento mori , part transcendence pushing forward and back in a timeless , illuminated plane. Fragile botanical fragments float and decay in a process of rejuvenation. Black marks heavily weighted in charcoal and graphite are sanded and scratched with reference to process, struggle and hope.
"Working mostly with landscape, I knew that I wanted to make art that spoke of the many layers of experience we have and how they form our individual and common lives. As if one were to scatter many sheets of parchment on the floor, only to see the various parts blending, revealing a dialogue, creating a new whole." |  |
 | Tarling came to work on paper, using solvent transfers, intaglio and paint in a monotype technique, whereby the painting is done on plexiglass or copper, then transferred to a press under tremendous pressure. In a "Zen" like way the paper, becomes a beautiful white space, just fragile enough to accept a tender impression.
This technique evolved into painting with oil and mixed media on wood. Building up surfaces with gypsum and graphite, adding then always removing . Tarling began using various other materials to allow for the smudging, texturing and atmospheric possibilities she was looking for.
"The process became as important to me as the resolved work of art."
"With each new layer comes a moment of awakening. My hand knows the feel of buttery oil on wood, my eyes the luminosity of white and the honeyed perfume of encaustic."
"I see this as Socratic method, a conversation between the materials that I use, and the image that I am creating." |
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