To whatever degree I make sculpture that is formally restrained, quiet, precise, slow, I think it is for two reasons: I think that these can be used as strategies of refusal of representation and auto-biographical narrative (as many of these artists I just mentioned used them). All of them were utterly different from each other.
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My favorite “Minimalists” are the ones who have been less remembered- Anne Truitt, Fred Sandback, Beverly Buchanan, Franz Erhard Walther, Scott Burton, Richard Artschwager, John McCracken. Though there might be formal similarities, the artists are all quite different from each other and had different ways of understanding what they were doing, which are often quite contradictory. I’ve spent a lot of time reading and looking, and Minimalism isn’t actually a cohesive historical thing. I emphasize the surface of flattened planes in relation to the surface of the body and moments of touch to reiterate the edge of the self and how it is constantly being formed, dismantled, and reformed by our context and our contacts.Ĭan you talk about your connection with the history of Minimalism, and how you do or do not address it in your practice? We know ourselves in relation to others, in our similarities and differences to others. Often the boundary is only made clear when contextualized in relation to other boundaries.
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I am interested in boundary and in edge, in the parameters that define a thing, an idea, a self. How does pattern and flattened space influence the style and content of your paintings? I hope to make paintings that are a refuge for those of us who experience ambiguity on a daily basis and as a means to unlock the potential for ambiguity within those who have never had cause to question their own identity position. One of the things I find most powerful about art is its potential to position people in a conversation they did not know was theirs to explore. My experience of race, which I have always experienced as multiply situated rather than “mixed,” has been especially influential to my understanding of the simultaneous, often contradictory nature of ambiguity and how this excess of information distinguishes ambiguous illegibility from vague illegibility. This drive stems from my own experiences of living in a body that is not always legible within the heteronormative, patriarchal, white, Western ideals that structure my daily life, particularly as a fat queer woman born to a white mother and a Black father. What drives you to create ambiguous forms in your paintings? I am forever changing and emotionally processing-aren’t we all?
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How can masculine bodies and energies heal, reframe, and teach others how to dismantle emotional colonization and get us back to a relationship between us and/or dreams, and potential to be the best version of our being as possible? Painting is a way to do this, in a specific way. You’ve mentioned that your paintings depict experiences of “emotional highs and lows.” Is painting an active way to process emotional experiences?Įverything has emotion whether we like it or not. My work is about Love as well as a human range of emotions, self reflection, and visibility. It’s exciting and empowering to see ideas of beauty our bodies in historical references questioning gender. It is an exciting time to be making work that reclaims, challenges, and brings center focus to bodies and stories of Queer Black people in ways that are less about the constraints, lenses, and expectations. A long length of time and history talks about Black Heteronormative bodies in spaces and history. I am a fat body, I am a soft body, I am a male presenting body, I am a femme representing body. Can you speak about how your work responds to, or critiques, ideas of representation? Collage works by Romare Bearden, Wangechi Mutu, and Troy Michie are some that I admire when thinking about the complexities of space what’s real and not real how things like memories, histories, emotions, travel from one origin to another. My work deals with bodies-more specifically Black, Queer, nonbinary bodies-and space relationships.
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How has flattened space influenced the style and content of your paintings?