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In the series of paintings All The President’s Children (2014-current), I have focused on images of First Ladies and Presidents embracing young children, sourced through various Presidential Library Archives. These photographs are generally staged photo ops that are tied up in the political ideology of family values and national identity.
I’m inherently suspicious of the images but also genuinely want to believe in this vision of hope and unity as a new permanent resident in the United States. I can imagine that they are genuine, warm moments between individuals, motherly or paternal, within a political context.
With gestural and heavily loaded brushwork the image becomes fragmented and unique individuals are reduced to intertwining shapes and marks which both merge together and resist one another.
Although ruminating on the unique history of the American Family, at their most basic these paintings describe the visceral weight and pressure of forms resting heavily on one another.