Presented at the Smith Gallery | Davidson College, NC
Woman-Friend (My own definition), n.
1. Coming from the term woman, referring to a human woman - A life giving, deeply intimate (whether sexually or non-sexually) relationship between women. A companion of struggle. Of a woman’s sphere. An expression of appreciation and love of woman culture and woman experience as in Alice Walker’s appreciation of Womanist and womanish.
2. Relationship between women, born of women, wherein lie the possibility of more women.
3. Separate from the term “girlfriends.” A rejection/surpassing of girlhood/childhood implications of that relationship. Implies a whole person and a whole adult. Not about games or play. Rejection of the diminished perspective that we hold socially regarding the relationships between women.
4. Rejection of the notion that women are viewed through their attachments and relations to men – that women must be preoccupied with men. This absence of men does not imply a sexual relationship between woman friends, though the relationship can be sexual. A close woman friend is a bond, not to be confused with love of an individual man, or of many men, which is good, but separate.
A Close Woman Friend attempts to explore womanhood with the understanding that womanhood cannot be concisely defined. Each woman’s experience exists separately from other women’s experiences, yet what often fails to be discussed in a meaningful way are the bonds between women rather than the competition. These relationships can bridge differing and highly individual experiences and create a place of love where one can struggle and land in one’s own search for self. This exploration is pro-women and woman centric, but that does not make it anti-man or in the absence of men, as these pieces are of a woman sphere within the work of humanity, but rather the works represent a shift away from male voices. A Close Woman Friend attempts to simply “Be,” meaning, to celebrate oneself and ones woman friends, which can be powerful and frightening. To just “Be,” implies such fear but also such fearlessness. One can only hope for a woman friend to be unafraid of your own fear and to unconditionally be with you in whatever way you need, as your witness, your lover, your friend, your confidant, your landing place. The works within the show represent encounters where personal experience intersects literature and sociology exploring the physical medium which itself reflects a response to these moments.
"Small Girl, Ella"
Graphite on paper. 72" x 46"
"Bees Singing the Coming of Spring"
Ink, Graphite, and Watercolor on Paper. 86" x 46"
"Love is When You Want to Climb Into Their Skin"
Watercolor, Thread, and Graphite on Paper. 78" x 46"
"My Mother Is a Fish"
Graphite, Colored Pencil, Pastel, and Tea on Paper. 72" x 42"
Watercolor, Graphite, and Thread on paper. 78" x 46"
"My Crumpled Rose, My Mauve, My Velvet Black"
Graphite on Paper. 82" x 46"
Untitled (Softly Spoken)
Untitled (La Grasa Mamaria)
Acrylic on Mylar. 43" x 33"
Untitled (Pa' Dentro)
43" x 33"
"Where Their Imagination Takes Them Seems Too Far to Go"
Acrylic on Mylar. 43" x 33"
Untitled (Titty Monster)
43" x 33"
"To My Uterus"
Acrylic, Ink, and Gouache on Mylar. 43" x 33"
Untitled (Rock Salt Breasts)
Watercolor and Acrylic on Mylar. 39” x 34” 2018.
Presented as part of the "Variations" project at the Palazzo Strozzi Museum | Florence, Italy.
The cubist movement aimed to integrate various and shifting visual perspectives of a single subject all at once. In this way, various fragments and conflicting elements come together in balance. Similar to this concept, "The Family" captures the multiple perspectives and variations of the idea of nourishment; how we feed or don’t feed ourselves, what we feed ourselves, and overall scenarios of what happens in the home and at the table. Each painting tells a different story; the child who is not nourished by a loving mother, two lovers feeding each other emotionally, the individual consuming something life-threatening, and the father who has lost his wife. Through the use of spoons, stains, blank space, and text, the work explores these relationships and the different connotations and perspectives of this nourishment emotionally, formally and philosophically. In every painting, the stains make a reference to both the nourishment we need and the wounds that we have.
The Family: Part One
Rabbit skin glue, and oil paint on canvas. Silkscreen, thread, and acrylic on canvas.
The Family: Part Two
Rabbit skin glue and oil paint on canvas. Silkscreen, thread, and acrylic on canvas.