This body of work is about vision and blindness. In each of the pieces selected, I have been pushing my conception of what it means to see and what it means to be in the dark. This process has pulled me away from the comfortable work/space of technical painting and thrust me into unfamiliar territory where I have to feel out (both literally and metaphorically) new ways of understanding my self, my materials and my vocabulary. The theories and dialogues I have been working in stem from Derrida’s Memoirs of the Blind, specifically the relationship that memory has to perception and Hal Foster’s critique of the search for alternative visualities located in the physical operation, socialized modes of understanding, and subversions of the past.
My works on vision question the reliability of sight. They point to factors that alter perception such as lenses that expand peripheral vision, optical illusions, and emotional factors such as grief and fear. These exposed “blind spots” reflect back to me the selective way I experience the world. Closing the eyes, I became more interested in how the body relates to physical spaces and how the mind (and imagination) is activated in the absence of visual stimuli. The compositions of Pina Bausch, specifically her performance of Café Müller, were very influential; specifically how she deals with the tenderness and violence of human relationships, the movement through space with closed eyes and the importance of memory.