Pulling imagery sourced from photographs of personal memories, I painted scenes from my own life in order to prolong their resonance. Household objects and broad scenic views became recurring motifs throughout my work, indicating not only a locale, but offering the atmosphere of each unique experience. My depiction of these subjects emphasize their subtle yet poignant importance in my understanding of the world around me. 

I was drawn to the fluid materiality of watercolor and the coarseness and ridges of wood. I explored the memory that the plywood holds of its past as a tree, its ridges and its impurities, in the ways that the watercolor seeps through its cracks, taking on the shape of the wood in unexpected ways. These unique aspects of the material provide a deeper layer into the subject matter I’m drawn to: an obscured evening glow, a hazy San Francisco skyline, the remnants of wine at a dinner party.

Rebecca Solnit and Joan Didion’s musings continuously danced across my mind when realizing these paintings. Their words on coming of age in California and coming to terms with the difficulty of being women resonates with my own experience.

"A person in her twenties has been a child for most of her life, but as time goes by that portion that is childhood becomes smaller and smaller, more and more distant, more and more faded, though they say at the end of life the beginning returns with renewed vividness, as though you had sailed all the way around the world and were going back into the darkness from which you came." 

— Rebecca Solnit, The Blue of Distance