I have a hard time talking about my art. In fact, Mike walked me through writing the artist statement for my final show and all of the best lines people mentioned in the guest book could pretty much be attributed to him. He has a gift for taking in lots of information and spitting it back out in digestible bites. In the case of my artist statement, he took lots and lots of late night talks, recounted conversations with professors, secondhand critiques, and mostly lots of random bumbling from me (that nearly always ended in the phrase, ". . . I don't know how to say it, but you know what I mean?") and helped me synthesize it into a few beautiful paragraphs.
I just really love that boy
|House of Bondmen, 12"x12" oil on panel|
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So this line in the book. It stood there, answering the question I've had about my work for the last few months: "What is this about anymore?" The motifs I'm using are the same—pattern, shape, covering, revealing, repetition, meditative processes—but I can't seem to explain my work in the same way I did over 2 years ago. It's just not really about ancestry anymore. It's more about this: "The sacralization of space [that] usually results from a succession of holy events like repeated miracles, or from accumulated layers of worship and veneration . . ."
I have thought a lot about space lately—how physical space is tied to emotional or spiritual space, how the daily acts in my space affect the feeling of that space, how I can make my home a sacred space no matter where it is and what our budget. I love the idea of repeated acts sacralizing a space; that as we repeatedly pray, or love, or aid in the space of our homes, those acts make it sacred. I think about repetitious acts that can tend toward monotony but allow for a holy work to take place there. I think about temples. I think about motherhood and routine and divinity. I think about our hands and our hearts and what motivates us to use them. And as my baby grows and my belly swells, I think about creation and time and how space is shaped by both.