I made these works inside a domestic space, and I think that this has a profound influence on the works. The lived in quality becomes a conversation between the arrangements made by the person who lives there and their temperament. This along with the intentions of the architecture and the economic structure that it occupies inform the work greatly.
I think about the intention behind its spatial layout . I enjoy the layering of both the intended use and a deviation and adaptation. An apartment and its furniture turns into an art studio and the cabinet becomes the paintings support structure for example. The stove usually used for cooking, boils the color out of the insects that will be used as pigment in the work.
This work will lead to further investigations.
About the process:
These paintings were created by pouring liquids into the pockets and allowing the liquid to seep through the bottom part of the pockets. The seeping creates a mark that goes from row to row, creating a vertical thick drip that visually shows the path of gravity.
I choose to use coffee, wine, and cochineal because I am interested in stains, in the charge that a stain has (as oppose to pigment) and carries with it. Coffee and wine are liquids consumed as drink for our bodies. I associate coffee with my body, a liquid I consume several time daily and a major component of my diet to a point of addiction.
Cochineal is a substance that I’ve seen used in historical religious tapestries here in Madrid. The reds of the cochineal dye composed a substantial part of the color palette for tapestries made in the 15th through 17th centuries. In looking at the color of the cochineal, I think about the Americas, it’s isolation from the rest of the world and its continued exploitation.
Although vertical, I relate these works to landscapes. If they are to be thought of as portraits, then they are portraits of a buildings facade. The pockets become balconies that are stained with rain and moisture after a storm. The balconies are layer out like units on a building, on a grid and spaced accordingly.
In this work, I’m curios about these systems of gravity, of design and use, of architecture and structure and in how these systems shape how we understand ourselves, others and our surroundings. I privilege process in the mark making of the work.