this piece , I enjoyed watching people go back and forth looking at it from 3 inches away and then from clear across the room .
I was also thinking about time and the longer reach of memory as it slips away and becomes part of history . That cliché about large quantities of time passing in the blink of an eye and what seems to have happened recently is suddenly a part of history .
My work doesn ’ t offer a narrative to overcome — at least not intentionally . I am attempting to point towards an escape from binaries where what is left is a Hield of competing and conHlicting truths and where multiple perspectives render history in the plural in ways that are entangled with our perspective of present reality .
As you have remarked once , you like to use materials that have a historical fingerprint to make an unexpected contemporary statement : the way you to capture non-sharpness with an universal kind of language quality marks out a considerable part of your production , that are in a certain sense representative of the relationship between emotion and memory . How would you define the relationship between real and unreal , between abstraction and representation in your practice ? In particular , how do figurative and a tendency towards abstraction find their balance in your work ?
Thinking about the real and unreal is a particularly poignant question as I am responding to this within days of the US presidential election of Donald Trump — a scenario that I could not imagine would become a reality . Further more the meaning of his slogan “ lets make America