Artist Registry
The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at registry@whitecolumns.org.
STATEMENT OF WORK
Rooted in highly temporal settings like the death of a loved one, the length of a subway commute, the confines of a waiting room, or the impact of a car crash, my paintings explore how shifts in material forms can better hold complex individual and collective histories. The figures in my work are people, or amalgamations of people, from my own life. The settings portrayed are orchestrations of memories that have been fractured or reimagined in processes surrounding lived trauma. Place is described as synonymous to time, and layered with anachronistic signs and referents from a wide breath of sources. Various idiosyncratic symbols, including severed body parts, paper boats, pointing hands, smoke, and a resting lion also recur throughout the works. This growing lexicon of motifs highlights the preeminence of psychic reality in the paintings, echoing my own desire to give shape to that which is ineffable.
Several processes are essential to the way I construct images. Writings, works on paper, and individual paintings are made to inform and supplement larger works. Mural-sized figurative paintings formed gradually by gluing fragments of painted canvas are a primary part of my practice. This method of making releases images from the confines of a frame, allowing a state of constant renewal where edges are never fixed. In addition to various modes of paint application, the additive process of collage enables me to physically reconstruct and expand narratives. Ultimately, the use of different mediums reflects a practice intent on finding ways to achieve nuance and specificity in the stories it engages.
For the past ten years, my making has been guided by questions around individual and collective loss and mourning, their manifestations, and their integration into larger organizing systems. Using narrative as a catalyst, I have spent years structuring and restructuring events in my personal and familial history, making them porous in ways that have challenged and informed my conception of memory, inheritance, and culture.