Memory is active, always in the present, and a construction, transaction, and negotiation, as opposed to a reproduction.
Memory: Luba Art and the Making of History, ed. Mary Nooter Roberts, 29.
As I explore the concepts in my work, my understanding of memory is paradoxical: with clarity and comprehension also exists confusion, bewilderment. Whereas memories contain elements of the past, they exist in the present in our current recollection of them. Our recollections, however, are not reproductions, but bits and pieces, figments, partial truths and complete fiction. Nooter states: Memory exists inuchronia. Just as utopia is ideal because, as reflected in the words ancient Greek roots, it is a non-place, a uchronia is a structured world; nowhere in time (29.) Thus, my work seeks to explore memories structured world filled with the biased truths, fictional details and mismatched elements. Set in no particular time; reflecting a variety of images, patterns and colors; and exploring physical layering as a metaphor for the multidimensionality and fragmentary nature of memory, my drawings exist to not only address/confront certain memories, but to also incite memories. Gaston Bachelard, in The Poetics of Reverie, states: In order to force the past, when forgetfulness is hemming us in, poets engage in reimagining they teach us the audacities of memory. One poet tells us the past must be invented: Invent. There is no feast/ At the bottom of memory. I seek to fuse elements of my personal narratives and memories with inventions that, together, seek to sustain a past, whether true or fictional. Thus, drawing, embroidery, paint, fabric and many layers of translucent materials reveal my attempts at creating and capturing memory, inventing the past. I would like my drawings to speak to a wider audience and communicate more layers of symbols, colors, patterns and motifs. Thus, I rely on my color palette one that, perhaps, reflects Mexican flamboyance with color as well as utilizing personal symbols in conjunction with appropriated imagery from nature, photographs, Japanese textiles, et cetera. In combining these elements, I desire that my drawings communicate the ideas concerning memory, place and identity. However, I would like that they also exist in their own created world a sort of magical realism in which perhaps for someone they reveal some sort of truth.
Fact/Fiction/Fantasy 1, 2005
Embroidery on dryer sheets
6" x 7"
Poppy Stroll, 2005
Graphite, paint, embroidery on acetate and interfacing
12" x 9.5"
Friends and Enemies, 2005
Paint and embroidery on dryer sheets and interfacing
9" x 10"