Domestic spectacle of taste and memory.
What shifts is that the image asserts itself more aggressively. The carriage form, in its cropping, is archival. It has a graphic decisiveness. It moves from atmospheric to declarative.
Is this work about images dissolving into matter? Or is it about matter digesting images?
Carriage, Oil on linen, 7x10.5 in.
A male butterfly typically associated with transformation, fragility, and fleeting joy.
These caterpillars have a strong alliance with ants. They secrete sugary droplets that ants love, and in return the ants protect them from predators. It is an ancient, meadow-scale social contract.
We’re in apparition territory. The floral shape is legible but ghosted. I like that it feels remembered rather than described. The image feels pressed into the surface, not laid on top. This is good, bc It’s not illustration. It’s residue.
Mariah, Oil on linen, 10 3/4 x 9 1/4 in.
Need to turn the brightness all the way up for this one to register.
Live & unedited process notes:
The stoic and confident look on her face. The protective hand gestures around the child.
Stern, foreknowledge. Maternal Intimacy. Psychological softness.
Romanesque portals.
Madonna as a typically sentimental or gentle figure.
This one feels the most atmospheric. It’s almost refusing image. It sits in that pre-recognition zone where something wants to emerge but stays submerged. The surface reads as material first, image second. That’s strong. It trusts ambiguity. It has gravity.
Madonna, Oil on linen, 8 3/4 x 6 1/4 in.
