Art is a fascinating reflection and product of life. To me, it’s a historical tool to connect human history, politics, religion, philosophy, and many more aspects of culture, as well as a contemporary practice that continues to help us explore issues and ideas, but can also serve to entertain, humor, and allow an escape from reality. I’m interested in exploring the many narratives of art from an intimate historical, traveler’s, and woman’s perspective in order to share with others in the hopes that it spurs entertainment and new narratives, but also serves to spark discussions in a relatively new, or at least limited, kind of art in the grand scheme of art history.
My paintings capture various images of my peers, my family, images from social media, and personal day to day moments on campus and in LA. I’ll often start by drawing a small, rough composition in my sketchbook in a collage-like method, almost pasting figures, objects and settings from photos I’ve taken together. New figures often enter the stage after I redraw my compositions onto canvas, allowing the figures and the spaces between them to grow in size. People and animals with couches, chairs, tables and other props are combined and layered to create visually puzzling juxtapositions, that, in relation to each other and their environment, create unplausible scenarios and situations of time and space. Figures that are spatially behind others and are farther away persist in staying proportionately larger than they should. A lack of recognition between some figures incredibly close to each other suggests the figures are occupying the same space but at different times.
These unreasonable scenes are meant to question the validity of memory and the history of memory in spaces over time through different painting styles. Different groupings of people occupy one space, but are painted to varying degrees and in unique methods. Quick, gestural application and blurred edges of oil paint explore the blurring and confusion of memories, whereas figures painted with delicately applied washes of paint suggest the fading of memories. Less rendered figures left in singular colors further suggest the temporality and oversimplification of memories.
My paintings capture various images of my peers, my family, images from social media, and personal day to day moments on campus and in LA. I’ll often start by drawing a small, rough composition in my sketchbook in a collage-like method, almost pasting figures, objects and settings from photos I’ve taken together. New figures often enter the stage after I redraw my compositions onto canvas, allowing the figures and the spaces between them to grow in size. People and animals with couches, chairs, tables and other props are combined and layered to create visually puzzling juxtapositions, that, in relation to each other and their environment, create unplausible scenarios and situations of time and space. Figures that are spatially behind others and are farther away persist in staying proportionately larger than they should. A lack of recognition between some figures incredibly close to each other suggests the figures are occupying the same space but at different times.
These unreasonable scenes are meant to question the validity of memory and the history of memory in spaces over time through different painting styles. Different groupings of people occupy one space, but are painted to varying degrees and in unique methods. Quick, gestural application and blurred edges of oil paint explore the blurring and confusion of memories, whereas figures painted with delicately applied washes of paint suggest the fading of memories. Less rendered figures left in singular colors further suggest the temporality and oversimplification of memories.