My work is the result of an investigation into the relationship between representation and memory. In particular, it deals with the inherent limitations of any archival practice. I appropriate old family photographs, specifically ones that were excluded from the family’s photo album and narrative. I use those photographs to create oil paintings and collages that expose the ambivalence of any archival practice and supplemental narratives. I am interested in how an archive works in two directions at once: simultaneously wanting to complete itself and yet knowing that completion is impossible because something always escapes. I see the excluded family photographs as what has escaped and what can be used as raw material to construct an alternative version of the past, another temporal narrative image.
It is not my own past I am trying to actualize in my paintings and they are not an attempt to reproduce the original moment in time. Instead the personal and impersonal come together in my work to create a sensation or mood. I do this by omitting or enhancing certain information in the photograph as well as embracing the changes that take place when I render the imagery in paint.
It is important that the subjects maintain a certain ambiguity; this provides an opening for the viewer and the responsibility of completing the narrative. My paintings start and end in medias res, allowing for variation and alluding to a larger whole outside of the picture frame. Images are altered, reused and translated into marks that connect them to other possible narratives. My work is intuitive and experimental, aiming to create a sensory experience that brings awareness to how different mediums construct our reality.