I create paintings, objects, and constructions, which together form fluid webs of memory, experience, and personal narrative. Constantly playing with the magnetism of four on going bodies of work—Fixtures, Sightings, Agitators, and Spooked—works from each are installed into enigmatic installations. Each piece is a marker, a biographical trace of my home, its walls, and the town outside of them; with these markers I begin mapping experiences, not simply to orient myself but to do the exact opposite, allowing me to arrive at new meaning and understanding.
What I have come to understand as palpable psychological charge—shaped by memory, racism, and perception—is a fixture of my childhood home and community. This presence is as much a part of the built environment as the architecture it inhabits. Through the process of making I am creating an embodied understanding of the events that charge my surroundings. Revealing a place and its ghosts as a point of contestation.
A sighting could possibly be considered the opposite of a fixture. Sightings are mobile, ephemeral, and difficult to explain, let alone prove. In this body of work images begin to set up with out resolving, their parts never quite add up. They feel like an after image or something just missed.
These objects, found and constructed serve to agitate the paintings. Installed in relation to a painting or set of works, these agitators shape context—veiling and revealing—welcoming opportunities for story telling and plural understandings.
Over hearing someone say that there was “ a Spook” on the back porch is a moment I vividly remember as a child. I was terrified—not realizing I had just heard a racial slur—I envisioned a monster of some sort. I was spooked. With this work I am addressing the gross misperceptions that fuel racism and white flight.