On view now at Soapbox Arts - Please send sales inquiries to Soapbox
Photographs courtesy of Homer Horowitz Photography
home in what remains
“Home,” especially as it bumps against the private/public, threads my art practice, my community projects, my employment. Most of my childhood objects scatter in basements where my family landed and then eventually vacated, spaces condemned, foreclosed on, or never our own. Perhaps painting is an impulse to re-materialize my personal histories lost over time.
With the Stay At Home order, my murals of 2019 scaled down to the paper works of 2020. The works in home in what remains depicts figures lounging, laying, and leaning on one another in domestic interiors. The feminine figure is prioritized in a tight domestic space by enlarging the female figure and warping into the first-person “i” perspective. The paintings reach for domestic reference points both in content and in material, hanging like drapes and featuring puddling mops & reflective mirrors.
My deepest personal inquiry as a painter right now is how to bridge my paintings back to my community art, my housing advocacy, and my community organizing. For me, the answer lies in the personal, and where my “personal” is orientated within the context of today. What is my relationship to my home space, and how does that confirm or deny traditions of the feminine domestic? My commitment to painting bumps up against my work as a housing advocate and my lived experience of housing insecurity. I am contending with these twin impulses to document, witness, interpret other’s narratives and to unpack my own personal narratives of housing insecurity in an all female family.