An art object can be seen, heard, touched, tasted, smelled, and even perceived in an extraordinary realm – i.e. understood through the six senses. To redact the art object into the realm of language, complicates the true essence and reception of the object.

However, I will say that there are three aspects of the work that can be identified and expanded upon using language:

1. all matter is ephemeral
2. art is slowness and a record of thinking
3. a deep connection to material, through process, provides a bridge to the dematerial

This body of work provoked a deep consideration for the objects I use and make to create art. By creating all of the tools necessary for painting – paper, paint, brushes – respect for the tools and their original inventors became integral to the process. My exaggerated method of having a hand in every aspect of the painting embodies an anti-capitalistic, non-commodified point of view. These notions are heightened through the works’ reliance on skill-sharing with members of my community. In addition to the process, the paintings in their objectness are anti-capitalistic; they are designed to fall apart, fade, disintegrate. This will occur through poor preservation techniques: handmade paper without a sizer or primer, botanical inks with a low light steadfastness, and employing organic matter bound to rot.