The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
My work explores concepts of narrative and history as a way to understand and explain why. I would include in my definition of "history", sequences of events, the layering of paper, proximity, the characteristics of a place, of a life, of a bird flying across the sky and gone, passing times of days, of months, of years, houses being built and taken down...I am interested in how things came to be, a chain of events, what came bfore what and why. In knowing how things came about, the implications is that one could find the inherent meaning.
Another area of exploration is about the effect of different ways of seeing has on emotion, how shifting perspectives alter the story one tells one’s self. Like seeing the Statue of Liberty from the subway bridge: it’s very small and abstract - an idea - intimate like memory, encapsulated as a fragment. Seeing it on the boat to Ellis Island up close, it’s huge, imposing and physically affecting. Shifts in scale and in proximity effect perception causing the psyche to alternate between present reality and imagination.
My current work is made with torn and cut paper fragments from either a variety of everyday print media, or painted paper shapes. Painting and drawing serve as the connector and rationale linking and justifying apparently disjunctive imagery. Composition, is at the root of most of my decision-making. I work intuitively responding to cause and effect. Collage is used in a utilitarian logical way, not with the intention of a surrealist outcome.
The particular, the universal and the cosmos all exist on one plane. Sequences and layers imply time passing and real events- the layers literally moving forward in space. Painted shadows, black areas and flatness are a fabrication of dimentsion and suggest the past and the beyond. The artwork itself is a recorded historical document, how it was made is evident, telling of a kind of truth.
Demonstrated in my imagery is the glorious world we have to live in, simultaneously filled with bounty and potential for all, and yet falling apart and cruel always from the turn of events. I can celebrate and mourn our world. For me it's a place that is at once, beautiful, rough, crude, spiritual, messy, alive and evolving. Painting, a thing of ideas and imagination, is a place where this can be done.
Sally Gil 2016