Straying away from swift strokes common to abstract expressionism, I am concentrating on repetition and strings of focus. My path hasn’t been linear or predictable and my work imitates that concept. My approach signals a shift that I recognize in myself and one I see going on in our society to different ways of interpreting ideas. I see a new approach to categorizing for understanding that neglects white, hetero-normative, western standards. I use the grid, symbolic of those standards for and against itself to demonstrate this non-linear approach to time and identity. My paintings hope to express a political subversion by creating grids that are wobbly and missing parts. The negative space constructs a new grid like space that dismisses category as a valid identifier and rejects the structure of the grid as stable and reliable.
We don’t have to do things the way they have always been done. We have a choice to look at the world and denounce what has been conditioned and programmed in order to create space for new light. My paintings hope to serve as a space for that new light.
Even more specifically, I began a practice of searching for some of the first grids in paintings which are experienced as windows. I was drawn to Dega’s blue and gentle sensibilities in his paintings. The paintings produced in the series consider the grids but maintain an irreverence for the “perfect” construct. My abstraction of Dega’s windows uses Western Influence to disembody itself, another example of using the grid for and against itself. I am interested in Western Influence that can deny ethnocentrisms and create work that embodies a whole and collective human experience with an understanding that each of our experiences are interdependent as well as complete on their own. Simultaneously apart, but in that separation and because of that separation – working together to build strength.