My current work engages the question of history as a construct through the reimagining of public spaces, monuments and boundaries. Building upon my enduring interest in how memory is embedded in the spaces we inhabit, my project examines the fluid borders between our perception of space and time. Architecture and the built environment— and the memories and stories these spaces and objects hold (as well as, those they exclude and erase)— form the locus of my current investigation. The work itself takes various forms: archival materials, photographic documentation, and my own perceptions and memories mediated through the language of drawing, painting and sculpture.
I have long worked with textiles, fabrics and thread in my paintings, and my current work foregrounds the metaphorical power of these materials to reference the way we talk about narratives and history: “We weave a story” or “we connect the threads.” The formal repetition of the grid within my work is a literal reference to weaving (the warp and weft), yet it also metaphorically references a screen, or scrim: something that allows some things to flow through, but prevents others from entering or crossing the boundary. The literal and metaphoric grid signals both object and action, a physical screen and the process of screening: we screen applicants, we screen calls, we choose what we want and don’t want to cross the border into our house, our country, our threshold, our consciousness. Beyond these specific allusions, my work is more broadly interested in metaphor itself as a mode of movement between ideas, concepts, words; it’s a fundamental comparison and engagement with otherness—making similar that which is different. With the radical potential to collapse distance and difference, metaphor moves across time and space. In this way, the operation of history itself is metaphoric, moving from the certain here of the present to the uncertain elsewhere of the past.