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In order to understand past events, I paint them. I am currently reprocessing three major events: the move to Panama that brought our family together in 2004, living together in one house for four years, and my parents’ separation. Referring back to childhood drawings of mine, old emails, photographs, and my own faulty memory, I piece together evidence and documentation to explore what I understood about what was happening during those times. In some instances, the archival material is featured in the final painting.

Viewing my work is frustrated by a sense of inaccessibility. I generally refuse to completely reveal textual information, scratching out or obscuring words. I enjoy a system in which the viewer and I can share in the authorship of the work; ideally, each viewer can feel comfortable interpreting things in their own ways. 

I relate to George Condo’s simile, “I kind of draw like I'm walking through a forest”. Most of the time, I am too invested in the work to realize the full extent of the decisions I am making until later on; marks I make seem to just happen, composition comes together on its own. Eventually I’ll slow down when something begins to reveal itself to me—a truth, a fear, a subconscious belief. These paintings could be thought of as reconstructions, documents, and evidence alike.



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