Your work tends to revolve around a central theme. What is the theme for this year’s exhibit and how did it inspire you?

One of the most satisfying things about being an artist is that you get to explore any topic that interests you at the moment and dive into it. I was very insprired by the Webb telescope images that came back to earch in 2022 showing previously unknown galaxies and the nebula where new stars are born.

It’s been fun to watch your work evolve over time. How has the work in this exhibit evolved in terms of process, materials, etc?

The basic materials—japanese paper, acrylic paint and screenprinting inks have remained pretty constant over the past few years. I have shifted towards a bit more painting and less screenprinting in the work but I still love the marks that I can make with screens so that shift might be a temporary one.

We’ve discussed this before, but geometry plays a substantial role in you work. How exactly do you incorporate it into your paintings?

I have an affinity for pattern—probably stems from my extensive background with historic textiles. A new body of work may start with some new screens that I make in my studio. I have about 50 or 60 screens in circulation at a given time—until they wear out. Layering patterns with screen printing gives a certain kind of energy to the surfaces, creates density and surprising color juxtapositions.

Your paintings are always a mixture of abstract and representational. Why did/do you choose this format to paint in?

I’m not sure it was a deliberate choice. I often start with an idea or image rooted in reality (for example the Webb telescope images for this show) and then I get to play with that and push it into the realm of the abstract. I have nothing against representational work but when my work starts to feel like it is trying to represent reality I usually try to add something ambiguous or playful that pulls it more into the realm of the imagination.

A Conversation with November Featured Artist Dorothy Alig