When not painting, McCormick is constantly observing the layered, accidental accumulations and juxtapositions that suddenly appear before her and emerge as a complete work. Her photographic practice is guided, similarly to the painting process, by the same fascination: the evidence of time and human intervention, erosion and layering, the accidental sublime. To happen upon the surprising combination of elements suddenly appearing as a type of symmetry, a completeness, a beauty unnoticed, in-obvious. Decay, ruin, collapse become the constituents of preoccupation. The desire to be surprised motivates the painting and photography process, manifesting the accident, coaxing the unexpected, unscripted journey to prevail. The two video pieces exhibited are meditation on the slowing down of experience to witness the sublime in the urban everyday. The simple act of making ones way through the urban landscape produces a cinematography, a narrative, mysterious and beautiful.

When not painting, McCormick is constantly observing the layered, accidental accumulations and juxtapositions that suddenly appear before her and emerge as a complete work. Her photographic practice is guided, similarly to the painting process, by the same fascination: the evidence of time and human intervention, erosion and layering, the accidental sublime. To happen upon the surprising combination of elements suddenly appearing as a type of symmetry, a completeness, a beauty unnoticed, in-obvious. Decay, ruin, collapse become the constituents of preoccupation. The desire to be surprised motivates the painting and photography process, manifesting the accident, coaxing the unexpected, unscripted journey to prevail. The two video pieces exhibited are meditation on the slowing down of experience to witness the sublime in the urban everyday. The simple act of making ones way through the urban landscape produces a cinematography, a narrative, mysterious and beautiful.

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 When not painting, McCormick is constantly observing the layered, accidental accumulations and juxtapositions that suddenly appear before her and emerge as a complete work. Her photographic practice is guided, similarly to the painting process, by the same fascination: the evidence of time and human intervention, erosion and layering, the accidental sublime. To happen upon the surprising combination of elements suddenly appearing as a type of symmetry, a completeness, a beauty unnoticed, in-obvious. Decay, ruin, collapse become the constituents of preoccupation. The desire to be surprised motivates the painting and photography process, manifesting the accident, coaxing the unexpected, unscripted journey to prevail. The two video pieces exhibited are meditation on the slowing down of experience to witness the sublime in the urban everyday. The simple act of making ones way through the urban landscape produces a cinematography, a narrative, mysterious and beautiful.
fullsizeoutput_ab65.jpeg
fullsizeoutput_ab5f.jpeg
IMG_0810.JPG
fullsizeoutput_ab6f.jpeg

When not painting, McCormick is constantly observing the layered, accidental accumulations and juxtapositions that suddenly appear before her and emerge as a complete work. Her photographic practice is guided, similarly to the painting process, by the same fascination: the evidence of time and human intervention, erosion and layering, the accidental sublime. To happen upon the surprising combination of elements suddenly appearing as a type of symmetry, a completeness, a beauty unnoticed, in-obvious. Decay, ruin, collapse become the constituents of preoccupation. The desire to be surprised motivates the painting and photography process, manifesting the accident, coaxing the unexpected, unscripted journey to prevail. The two video pieces exhibited are meditation on the slowing down of experience to witness the sublime in the urban everyday. The simple act of making ones way through the urban landscape produces a cinematography, a narrative, mysterious and beautiful.

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