One can see she views the body as a process and amalgamation of fragments collectively woven together to enact presence in space. Specifically, her previous works and current play on tapestries illustrate critical examinations of viewership and the body within the contexts of Classical and Renaissance-era makership, as well as the art historical imagery produced by spiritual institutions.
The title [for my last show, Streaming by Lamp and by Fire] uses keywords belonging to three separate time periods. “Streaming”, in this case, references the current moment of rapidly downloading content via the internet, “Lamp” has the modern and immediately pre-modern eras covered, and “fire” belongs to the broadly primitive. The metaphor for painting here is basically doing something by the light of three different periods simultaneously. It is also proposing that the something being done is happening in three different keys simultaneously, if streaming is about entertaining, a lamp is studious, and a fire is ritualistic. Seems to me the fate of the contemporary painter is to channel multiple moments of painting’s history and its functions all at once when they go to make a painting – or maybe they are all there whether the painter is conscious of them or not? I actually enjoy thinking about how many of them are in a painting and the more at odds they seem with one another, the better.