Artist Statement, Kirsten Nash

“The word plasticity thus unfolds its meaning between sculptural molding and deflagration, which is to say explosion. From this perspective, to talk about the plasticity of the brain means to see in not only the creation of form but also an agency of disobedience to every constituted form, a refusal to submit to a model”

-Catherine Malabou, “What Should We Do with Our Brain”

Given the cultural, economic, and political realities of our time, specifically the failure of a Globalized Capitalist structure to address our most pressing existential issues, I find it difficult to reconcile my art practice as a painter and image-maker to these realities. How do you create an image that can stand against the overwhelming flow of images and market fetishization that permeates our culture? How can an image embody the nuance and emotion associated with the complexities that surround things like flowers, which might arrive as a very sincere gesture of kindness and beauty, yet also produce a nagging discomfort against the backdrop of an increasingly visible precarity and concerns about labor conditions and ecological impacts.

I want to believe that ideas originate in art and creativity and that, it follows, to embrace creative joy and expression is an act of defiance and an act of liberty that has the potential to serve as a model for resistance and change.

Appropriating the reductive grid of American Minimal and Conceptual 
painting, while referencing objects, places, and patterns from everyday, I open myself up to possibilities that arise through destruction of these forms. Fracturing, reflecting, negating, and refining, I am aiming for a raw simplicity and directness that is in the moment and informed through memory. In the most successful pieces, a tension is created though the attempt to insert personal and quotidian references that mark lived experience. The viewer is made aware of the delicate balance of his or her reading of the oscillation between the formal properties of the work and personal reverie.

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  1. Pingback: Issue Eleven, 2015 | Matter

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