What is Lost/What is Found/What is Remembered
I am a storyteller.
Wood, stone, paper, lead are my vocabulary, chosen for that poetic quality that implies extra meanings. In making wood carved drapes, stone carved gloves, and lead formed dresses and hats, I am saying more than the obvious. Making something soft and somewhat insignificant out of a material that requires special skills and time investment implies a meaning.
Objects of material culture, cast iron beds, cook tables, buttons, are carriers of collective memory. I count on our common experience to inform the selections and direct a specific reading of the object from the way I place it in my context. This aesthetic act of placement acknowledges Duchamp, but does not rely on one minimalist gesture for meaning. The sculptures and installations are layered with found and formed objects that constitute my finished anachronistic and image. That mixing of a modernist aesthetic with the constructed objects from a visual storyteller's words fulfils the conditions of my own aesthetic system.
Conceptually, I am interested in process, in recognition and in arrangement, in prioritizing and defining the context and meaning of images. The game strategy of my conversations in art has to include these processes.
I take flower holders and arrange them in a way that gives them a specific value. ("Untitled (frogs)") Or I take something of high value (a family story) and render it in commonplace materials (buttons). ("Uncle Clarence's Three Wives") Choices for the most minute details are not accidental, but are charged with associative meanings. It is an intentionally coded system.
Proper manners and a sense of my place as a south Texas woman inform and set the tone of the work. Like the slaves of the old South who developed a communication system from the arrangement of certain patterned quilts hanging on the clothes line, I have developed a communication system that is polite, proper, and safely embedded. It is a visual language that depends on and invites elaboration. I want the viewers to have associative memories and make my history into theirs.
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Blue Star Contemporary gratefully acknowledges major support from the City of San Antonio Department for Culture & Creative Development; The Lifshutz Family; Ann Griffith Ash; The Brown Foundation, Inc.; Charles C. Butt; Capital Group and The Capital Group Companies Charitable Foundation; Penelope Speier and Sonny Collins; the Mary Hobbs Griffith Foundation; H-E-B and H-E-B Tournament of Champions; the Kronkosky Charitable Foundation; the National Endowment for the Arts; Ricos Products Co., Inc.; a grant from the John L. Santikos Charitable Foundation Fund of the San Antonio Area Foundation; Valero Energy Corporation and the Valero Energy Foundation; and Weston Urban. Additional essential support is provided by 1010 South Flores Lofts and 1111 Austin Highway Lofts; Argo Group; C.H. Guenther & Son, Inc.; Dr. Dacia Napier; Frost Bank; Sarah Harte; King William Association; Kim Lewis and Jessica & Clint Worth; Neiman Marcus; Rackspace; Silver & Black Give Back; Silver Eagle Distributors; Texas Commission on the Arts; Wendy & Tom Wirth; and the Community Partners, Members, Individual Donors, and Board of Directors of Blue Star Contemporary.
© Contemporary Art For San Antonio 2016