To create the work currently on display at the White Gallery, I’ve done a lot of searching and arranging, building and painting. I search for cardboard, old wood, peeling paint, and strings. I pocket paper scraps, forgotten trash, and old receipts. I throw everything into three blue suitcases next to my bed and spend evenings sorting things through, taping, and moving scraps of paper onto board until they feel right. I then combine these materials with the use of printmaking, oil paint, pen, and glue to make things to which I feel attached – a wallpaper that reminds me of my grandmother’s house, the taped together chandelier like the one above our childhood dinner table. My work is an obsession with imperfectly reconstructing the people and places tied to me. It is an obsession with maintaining a personal history, resurfacing memories, and tying these pieces together. I tie the inanimate to my historical animate; the emotions are loosely taped, strung, and held together in homemade ways. I grew up inside a loosely-held-together home alongside loosely-held-together people dealing with different levels of brokenness. They fill up large sections of my brain every day, and this is what I make things about – the idea of home, the people tied to it and the mental illnesses that hold them.
While creating these paintings I’ve been very drawn to the work of CY Twombly, Jean Michael Basquiet, Cathy Wilkes and Robert Rauschenberg. All four have a distinct way of making art that appeals to me, a raw and intuitive manner that I respond to so strongly. They’ve captured something I can’t put words to, but that I recognize, something that floors me. I hope to capture something similar in this body of work. I do not have adequate words for emotion, but I have images and marks that are tied to feelings. It is my hope that although this body of work is very personal, the emotions expressed will resonate with someone.