I make small-scale paintings in acrylic, informed by geometry, layering color on color and richly textured with a seemingly waxy patina.
As everyday life creates our perception, so the incremental layering of events becomes the central issue of my art, influencing not only its content but also its form. These paintings, in their understated size and methodical, meditative geometry, celebrate the ordinary. The grid – a model of routine – enthralls me, whether the visual result be an embrace or a rejection. Color arrives unannounced, like an ancestor knocking at my door, presenting a palette of personal favorites. Some colors come to me in dreams, especially the greens, browns, yellow-oranges and violets.
In Letters to a Young Poet, Rilke describes this phenomenon:
And yet they, who passed away long ago, still exist in us, as predisposition, as burden upon our fate, as murmuring blood, and as gesture that rises up from the depths of time.
Working slowly on wood panels, I build strata of paint in even, smooth layers, evolving mutable patterns. In this way, I record time spent, an accumulation of memory and of returning again and again to the activity of brush on panel. – Hester Simpson
New York Observer article by Mario Naves (June 2007)