My current work investigates painting as a material form of
memory. More specifically, I want to connect the painted mark to the
psychological mark. Each has the potential to last and remain concurrent with
the accumulating present. Painting is a surrogate memory holder, a compilation of
preserved materials that act as placeholders.
In my work, I reference found vernacular photographs as well
as images that I have taken while traveling across the country. These markers
are a way of layering my personal memory space with psychologies of persons
whom I could never have known. My current work is an investigation of these
conflated memory spaces that contain layers of forgetting and inherent
confusion.
I grew up on a lumberyard. I remember the industrial
surfaces that were brightly painted so that heavy machinery would not collide.
These surfaces still inform my practice and also have an influence on my
palette. For the past few years, I have been living in the New Mexican desert as
well as urban San Francisco. I have been painting both spaces as intersecting
planes that also interject vernacular photographic moments. This creates a
chaotic layering of transitory spaces that somewhat resemble reflections in
glass. Painting my own movement through these spaces and the projection of a
vernacular “everyman” creates a space in which the viewer can also enter into
and interject their own spaces of memory.
