Memory and the Commonplace explores how domestic spaces and inherited objects form the architecture of memory. The works begin as paintings—layers of color, lines, and texture—but often evolve into sculptural forms. Influenced by Anne Truitt, I’m interested in how painted surfaces can occupy space, becoming objects that carry emotional and spatial weight. Using salvaged doors, windows, photographs, and assemblages, I reconstruct familial environments that blur the line between intimacy and artifice.

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Each color is drawn from objects collected by my parents and grandmother—items rooted in my earliest visual memories. My grandmother’s home, a place of comfort and stability, shapes much of the palette, while the fragmented scenes reference the theatricality of set design and the labor of remembering. I’m especially drawn to the visual rhythms of domestic architecture—grids, thresholds, and frames that serve as armatures for memory.

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In Hiraeth, a large gridded painting composed of individual panels, I worked from projected images of my childhood home, with photographs taken just before it was sold. Stripped of all personal items, the house appeared both familiar and vacant. The resulting abstraction reflects the tension between recognition and distance, presence and loss. Across these works, I explore how we carry the spaces we can no longer access—and how they persist through object, image, and memory.