April 1 – May 7, 2016
Here and Now Here | Kaye Lee Patton
Opening Reception:
Friday, April 1 | 7:00 pm

“Everything impressed itself on my memory, and with double associations;
for I was constantly referring my new world to the old for comparison, and the old to the new for elucidation…. All the processes of uprooting, transportation, replanting, acclimatization, and development took place in my soul…. It is painful to be conscious
of two worlds.”

Painters have been asking the question “is painting a surface or a thing” for many generations. Motherwell engaged this question for two decades through his Opens series where his fragmentary rectangles posed as abstract windows alluded to the irony of “paintings” and their ability to activate perception of both nature and space.

Now, in the 21st century, we engage in the irony of interior and exterior space in everyday activity. The advent of “Real-Time” communication brings those you love into the palm of your hand. Walking, driving, eating, even in bed, you are with them – looking into their face, engaging with spaces that are not your own – projected through a glossy screen.

Over the past few months, I’ve captured Facetime stills and images sent to me via text message from a location halfway around the globe. These images are of places—exteriors—captured in my “Real-Time” yet not in my “Real-Space”.

By methods of photo transfers and shaped canvas, I preserve these “Real-Time” moments and make them tangible. Through looping images in my mind, I create “Real-Time” that is even more authentic than the real times past. Through usage of an image – which becomes an object – that is also a painting. I desire to revisit what Motherwell strived for thirty years ago. The ever present contrast of exterior and interior – to capture and experience the fluid transition between absence and presence, surface and object, and memory and simulation – that provide room for investigation and understanding of the here and the now.

HERE AND NOW HERE explores the idea of presence through addressing memory in relation to virtuality and their influence on perception. Absence constructs memories and memories become assumed data of times past. Virtuality also requires absence, weather it is through digital screens, or exercising ideals in our minds. The interest in one’s connection to the absent became an inspiration to create objects that mimic caricatures of the same object. This creates a make-believe reality formed on assumed data and exercised ideals where objects allude to ideas of other objects, and things simulate multiple ideas. The absence of the actual, together with the presence of illusional presented in make-believe reality becomes the premise of my work that reorient assumed understanding, expressing desire for potential.

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