*This piece is interactive and best experienced in horizontal view at full screen width on desktop.
*This piece is interactive and best experienced in horizontal view at full screen width on desktop.
Nil
Rock
Anvil
Anthill
Gullies
Softness
Hair braid
Oh schist!
Pink earth
Bull snake
Baby curls
Yellow earth
Orange earth
Natural murals
Lesser goldfinch
Accidental fresco
Foot, bog, squish
Old grocery lists
Wilderness safety
Tactile roughness
Accidental framing
Surprising geometry
Scraping as marking
Wildfire ash as color
Dry as a relative term
Caressing as marking
Is it paint or shadow?
Woven patterns of rugs
Very intentional fresco
Stillness (no such thing)
Surprising yucca plants
Violet edge of visible light
Really old number two pencils
Uterine prolapse (not pictured)
Flowers with little scent (to humans)
Inaudible (to humans) parts of bird song
Alighting butterfly (or is it a moth) it’s a moth
Anarchy symbol also carved into wet concrete
Clotho (spins), Lachesis (measures), and Atropos (snips)
The sameness and difference between two home ecologies
Peace (spelled out – not the symbol) carved into wet concrete
Footprints left by lotion applied to my feet when I thought didn’t have to get up again
portal ’n parcel / partial ’n’ portable reflects on geology, habitat dissolution, planetary science, narratives of discovery, mythology, collections, lived experience, and increasingly tangential research. The painting media I employ—egg-tempera, ink, and fresco—are processes that relate to the birth of scientific inquiry and the history of visual art. Meditations on touch, observation and imagined experience, my portable Buon Frescoes often utilize modern construction materials to enact the ancient processes and chemical bonds. Fresco is a time-based medium—a finished work in fresco may be a painting and an object but is also an artifact of process. The time frames involved in working with fresco counters the demands of contemporary culture in the ways it ask for attention, patience and collaboration. Material/visual/narrative experiments help me examine nature, history, sight, gender, experience, deep time and this moment. Working with handmade material has become important to me as embodied processes that require layers of attention, planning and immediacy. This iteration digitally overlaps a few types of portable walls traversing the body and digital entanglement.
