NYU Black Renaissance Noire NYU Black Renaissance Noire Vol 17.2: Fall 2017 - Page 134

o Vista 4: Emerging Properties B — Midnight Cami, 2013 Acrylic paint, paper, nail polish, resin, filter charcoal, nylon mesh, graphite on synthetic paper. Approximately 22” by 18” p Vista 5: Emerging Properties C, 2014 Acrylic paint, nail polish, resin, filter charcoal, bubble wrap, polyester netting, construction foam, plaster, graphite and synthetic paper. Approximately (wall) – 22” by 18” by 7” & (floor) – 18” x 10” by 12” We are not fixed. Do we really live this life within the boundaries or our skin? Are events contained in the sequencing of time? The distance between reality and mythology is just our ability, at any given time, to access, understand and to relate. Experience is molecular, chemical, embedded, recorded, coded, decoded and then re-experienced. It is beyond history and memory. If painting is not just a gesture but is a language — and is a language that I believe is not medium-specific — then in truth the materiality of what I refer to as ‘ooze” can be an inherently conceptual feature /directive/ charge in time, or space and place. There has long been the implication of some form of oozing materiality in my work. The ooze has been substantially black in color. I have come to understand that this black oozing materiality is in actuality a site of confluence — of our histories, our physical existence and the elasticity of time, space and place. There is a fluid, liquid and emergent transition between the 2 and 3 dimensional, between what is painting and what is sculpture. Nothing is fixed. Conjoined figures are always negotiating space, position and means of conveyance. Design motifs act as incursions from one territory into another. Resin is at once liquid and solid. Nail polish is product, paint and signifier. Paper is dormant and flat then it is molded and active.