I was rummaging through a seldom visited drawer in my studio. My hand brushed against a nearly translucent receipt. An errant mark of red oil pastel partly obscured a few digits of a scrawled phone number. Years ago, a cashier had folded the receipt and the ink began a glacial migration from one side of the thermal paper to the other. This relic sat in my drawer for years, stationary but changing.
We encounter unremarkable objects like this everyday, quickly moving past them only to find years later they were secretly buoyed to an emotional or historical moment in time. These moments are camouflaged by the pace of the present. But, taking time to reconsider them can enhance our ability to appreciate the present.
I’m thinking alot about collaged elements - in the way a composite object or unfurling idea relates to the many components that define it. My recent paintings study this concept, diving into the arrangement of a piece and the order in which it came to be.
The works are comprised of torn, reconfigured paintings that I had once considered incomplete. In revisiting these pieces and compiling new washes, new marks on top of elements from the past, I distort the sequencing of events, camouflaging a linear process in layers of markings. The new paintings are, in a way, a collaboration between my past self and present self.
All at once, I find myself painting from two vantage points, looking in retrospect at past paintings while simultaneously finding what they will be (again).
I’m preparing for a month-long break from San Francisco as I travel to The Macedonia Institute for an artist residency in Upstate New York. With the intent to start with a blank slate some 3,000 miles from my overflowing studio, I’m releasing these works from my archives as a bridge between my past work, and the new concepts slowly gestating in my mind.