There was a beautiful super bloom this year in southern California. The views of the mountains were clearer than I’ve ever seen them before. We weren’t allowed to be out but I definitely skirted the parameters of responsible behavior. We all figured out that picnics were an acceptable practice, so that’s been the thing for birthdays, dates, and whatever else, all with a blanket in the shade and some people get fancy with the camping chairs. Initially there was some reprieve from social isolation, it is strange for this wholesome park activity to become so loaded. This grief is expansive, abstract and lonely.

There are repeating motifs such as hands, vortices, plaid patterning and interstellar imagery. The hands are traced from shadow and reflect on early paintings in caves. There is something kind of nice about continuing that expression. A raised hand is a form of exaltation and originally, the traced hand on a rock was the way of marking a special event. Tracing my own hand makes me feel connected to our history in that way, it is a rejoice in mystery. Mirroring the hands are these unwinding spirals, galaxies or vortices, they feel like a good allusion to the chaos and uncertainty at this time. Along with the chaos is an ordering principle, the plaid patterned background. These repeating themes are woven together as a way of symbolizing the outdoor hangouts of which we celebrate the unknowable future. 

As some paintings hang conventionally on the wall, others are hanging from the ceiling, an invitation to see them from both sides. The works are translucent in some places where light shines through the plaid squares. 




Photos by Rubén Garay Araujo.