“By definition trauma cannot be represented. But it can be approached, moved and transformed. This is not cure; it is poiesis: making.” – Griselda Pollock
The levels of severity and the systems through which trauma is experienced are varied and convoluted. I am most interested in the life of traumatic memory after experience and the after-images that come from it. The female body and the representation of it in media, southern US religions, and art history are the sources from which I harvest imagery. It is these narratives that provide evidence through which I find proof of individual experience with oppressive norms. I tend to find that the most absurd myths are rooted in an insidious reality. The forms in my work come from my perception and distortion of these source images as they are filtered through the corroboration of mine and other’s experience. They are not meant to be representations of the event of trauma but of the way post traumatic memory presents itself and has life in bodies. Staining and loss of clarity become language for a hauntingly, pervasive memory that cannot be fully known and that exists outside of linear time. An experience that is both perpetually present and permanently absent. It’s a utopic hope that these memories can be caught. This stilled image lends itself to the language of post traumatic memory by the ability to revisit the picture plane in the present. There is power in the voluntary capacity with which one can view or not view.
Paint and canvas become flesh and spaces are activated through light and shadow, a body that holds the memory. I create a tactile sensation that is affective in nature through saturation and relationship of color, weight or lack thereof of material, and a movement of shape through space. It takes on forms as the thickness balances on the tissue thin surface of the canvas; attempting to gain footing on the delicate conditions of perception. I hope to create a hyper awareness that causes a pause for visual listening; a shift in the way of seeing.