My figural drawings and paintings juxtapose the overlap of time and location in my childhood home. Through drawing and painting maneuvers, past, present and future memories of my former home are represented simultaneously through figural and architectural spaces. Though my family moved out of our home, I wanted to visually keep my parents existing in the same space as the new owners (or what I imagined them to look like).
My drawing process begins by locating specific family member’s common locations in the house from memory. Once I have sketched my parents and the house’s architecture and furniture, I then imagine what the new owners might be doing in that same space. Even though my parents no longer live in that house, I wanted them to appear more physically present in my drawings. Through colored pencil, the new owners are transparent as to suggest not existing physically in the space, while my parents and childhood furniture exist in full local color and value. While my parents are unaware of the new owner’s presence in the drawings, the future inhabitants are aware of my parents but do not interact with them; rather, they passively engage with the architectural space and furniture.
In my painting, “Don’t Sit on the Arm of the Couch”, I re-emphasize my family’s physical presence in my childhood home. I painted each family member in every popular place one could exist in the common family room. By multiplying each family member, the room is crowded with my memory of our interactions with that space. The viewer exists in the same location as the television, and so my family is positioned strategically around each other to be able to see the screen, or in this case, the viewer. Working with acrylic paint and a primarily cool and neutral palette, each family member’s clothing, hair and skin tones are realistically representative of their identities. However, small moments of warm, saturated color and visible hatched mark-making activate the figures and architectural moments into a cohesive space.