Currently confronting my settler past, present and future by considering what it means to consume, create and curate in Canada during a time of deep ecological and social crisis, the world as I knew it has become unsettled and more abstract. Working to undo my personal archive of early paintings and drawings, I am investigating how unmaking can be an interdisciplinary methodology to create change at both a personal and institutional level and offer ways to reconcile one’s past while making reparations and making room for new futurities. Surprising generative, unmaking in the studio involves endless exploration of processes such as erasure, cutting away, tearing, painting over, abstracting, disrupting and reconfiguration. This revisiting of old work serves to undo my distance to my personal material excess as well as provides opportunity to push beyond traditional and formal Euro-centric understandings of space and place.
The Landscape on Table series materially reflects how environments are geologically, conceptually and culturally layered. By rotating and painting over early landscape paintings or cutting up old sketches and magazines, I am speculating on how one might go about unmaking Euro-centric colonial aesthetics and perspectives on land. The title of the series also works to draw attention to how our bodies are materially connected to the environment. Highly abstracted, textured and vibrating with colour, the treatment of imagery is intended to acknowledge the multiplicitous existence and vitality of living beings and non-living objects that intentionally or unintentionally end up on our table.