lola
montejo
​My work is a compilation of ideas and reactions to mediums and materials that result in an abstract image.

I explore the differences between strategy and chance, between intention and accident, and the rational and irrational. Using additive and reductive painting techniques and an array of approaches; I cut, tear, sand, mask out and pour, slather or roll out paint layers.  The variety of tools and techniques I use open my way of working and at the same time create constraints that aid in my discovery.

Uncovering possibilities with self-prescribed confines, I employ different elements of form, color, mark making, and layering. I contrast smooth surfaces against distressed and allowing the paint to be expressionistic in some areas and controlled in others. I seek to point to contradictory aspects and a visual give-and-take where conflicting forces are interdependent.  

I build and deconstruct layers and when it feels like the work needs tension, I commit acts of obliteration, where I paint over large areas or almost the entire previous painting. Or at other times, there are acts of impulsivity, where I tear off layers or make an impromptu gesture, and take the liberty losing it completely. I paint, cover, build, destroy, paint over, reveal, and reestablish the surface.

Examining the fragmentary, the imperfect, and the unknown, I obtain an instability of form and a state of flux with various techniques and layers of paint. The improvisatory passages create painterly events that speak of force in its many intense manifestations.  

Part of the painting can develop fast and are busy, or chaotic, while other parts are slow and more contemplative. The practice is a kind of choreography; of the mind; a dance between impulse and learned behaviors. There is a back and forth between control and improvisation. Both my conscious and unconscious are played out at different times but the finest parts are when I feel with my gut, which I have learned has more nerve ending than the brain or heart. It is about knowing when to embrace expectations, rules, desire, and even fear, but knowing that it is equally as important to tell when to let them go.
 
The paintings become a process that takes place after certain amount of trials, and those trials create a presence to the work. By relinquishing control, creating obstacles, and even sabotaging the work I gain a further understanding about my creative practice and a way of introducing energy and vitality into my work.