Artist Statement

 

My perception of the world is shaped by my experiences, which in turn shape my memories. This makes me think about the perceptions and memories of others, and how they differ from mine. I'm intrigued by the fact that multiple perceptions coexist in a single space. I try to capture that in my paintings. My goal is to give vivid form to each figure's unique perception of the space they inhabit. Since each person holds different memories and perceptions, the space appears distorted, with perspectives shifting around each figure. This deliberate distortion lends an uncanny feel, where the perspective is no longer that of any single viewer.  

 

 My paintings are a means to navigate the complexities of reality, perception, and memory. Through portraying my loved ones in distorted settings, I seek to reconcile feelings of inadequacy as a mother and daughter, transforming my narrative into one of redemption. Vibrant colors, patterns, and fantastical elements bring joy and order to my chaotic emotions. As I depict my family members amidst bold patterns, I explore the notion that space possesses its own energy, that energy can shape perceptions. By altering the appearances of the domestic spaces in my paintings, I contemplate whether it can influence my real-life perceptions and memories, especially in new environments. Through alteration of the perspective and eliminating shadows, I evoke a sense of disquietude. Despite the cheerful elements, underlying sadness and guilt permeate the imagery, reflecting personal struggles as a mother. 

 

For me, spaces, memories, and perceptions are intertwined. The physical environment is a vessel for my memories and perceptions. Much like I depict different perspectives in my paintings, my ceramics function in a similar way. I use the technique of mono printing, first drawing the pattern onto the newsprint, then painting the newsprint with colored slips, and finally applying the wet slip onto the wet clay. This results in the printed image appearing on the curved surface of the clay vessel. As contact prints, the images are the reverse, mirroring the drawings I originally made. They embody a different perspective or perception from my own, causing me to see the world in reverse. 

 

I also think about how two individuals, who share a space, bring with them their own unique perceptions and memories of that space. They coexist within the realm of their own subjective experiences, layering perceptions and memories, which in my mind creates a space that has shifting perspectives. Perceptions are interior emotions and by shifting the perspective, I paint what I perceive, and what I imagine is the perspective of each figure. Through my interactions with my loved ones, I know my perceptions are very different from theirs, but by shifting the perspective around them in the paintings I acknowledge my awareness that one person’s perceptions can never be known by another.    

 

 The materials I use, such as natural linen and oil paints, hold equal significance to the subject of my paintings. Working with these materials brings me joy, and their beauty takes me out of my current reality, helping me enter the reality of my paintings. I cherish the colors I mix, often repurposing leftover paint to create abstract paintings that evoke new memories and experiences. I find joy in working with clay, particularly through such tactile processes as coil rolling. My three-dimensional works are a kind of extension of my paintings, bringing their atmosphere to viewers and inviting them to become active participants in unscripted dramas. As I delve deeper into this component of my practice, I see parallels between vessels and the domestic spaces depicted in my paintings, both serving as containers for memories and perceptions. 

 

 

 

 

 

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