UNO X UNO
Cities are full of abstract viewing experiences. I take my daily journeys as an opportunity to find them and reframe them in my work. Paying particular attention to the underdogs and supports in architectural relationships and painted surfaces.
I am interested in gleaning, grafting, and the process of moving these observations into segments of objects and installations. There is a back and forth, a reciprocal relationship between object and painting made, while mostly making repetitive and modular components that can act as temporary, unfixed arrangements.
In this body of work, UNO X UNO, I have been using these modular components to make more permanent works, crumpled wall hung objects that stitch together these components into discrete objects.
Like my interest in moving between permanence and impermanence, I strive to have a working process that takes the material through dif- ferent states. To make the material I formed the canvas into temporary structures by folding it into an object, painting it, and taking it back to a flat surface, blurring the lines between object and pictorial plane. Other canvas pieces are masked and striped and yet others are produced with printmaking/stenciling approach, where paint is pressed through a loose weave of fabric. The painted sections are then sewn together into wall-hung objects.
The wall treatment is one I have used several times in my practice. I have made wallpapers that echo the painted designs in my work or striped objects. This iteration pays tribute to the beautiful array of painted surfaces here in Mexico City. A great deal of my work relies on the beauty of striped patterns, and I have become attuned to finding them. Stripes oscillate between clarity and camouflage; confrontation and retreat; revealing and concealing. These are all variations of illusion and I find them dazzling and endlessly attractive.
As opposed to solid color, the stripe constitutes a deviance, an accent, a mark or a striking out. Stripes, like bright color, have been derided historically in art as belonging to the profane and the marginal. I couldn’t be happier to seek these things out in my life and to be here in Mexico City, where with ease, I see beautiful colors and painted stripes, everywhere I look.
The artist gratefully acknowledges the support of Ontario Arts Council.