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I begin working with figures in relation to one another, but
the ground around them tends to morph and abstract into the figures.
A fence, a piece of wire, a forest, or a domestic object serve me well as visual
metaphors for different types of social contracts. I am interested in the point
where something meant to protect begins to contain, or where separation becomes
a form of connection.
The forest appears as a setting where the usual social rules can loosen—
a space with its own logic, where the body might behave differently.
Care is associated with physical tasks: making something,
repairing it, feeding someone, co-working. These actions can easily
be intimate with or without being sentimental. They can also carry
expectations about what we owe each other and what our bodies are
supposed to provide. I am interested in that tension, particularly
around femininity, motherhood, sexuality, and domestic and service
work.
A painting can hold contradictory feelings and near catastrophes:
tenderness and danger, absurdity and seriousness, freedom and
restriction. I think of togetherness as slightly unstable,
continually negotiated, and of the utmost importance to life on
earth.
Group one, Co-Workers
Group two, Material
Group three, bent fences
Group four, Sisters
