Nested Memories • Kim Oliveros

Oct 18 to Nov 14, 2017 • Tall Gallery

In my most recent works I continue to examine my personal life and artistic practice through my paintings. In the process of working on this exhibition I was given a notice by my landholder informing us that our contract will not be renewed. This move meant a major change for me, I have been living here the past 7 years and I consider this place my home. This made me reflect on my personal history; what is home? And to what extent is my artistic practice rooted in this idea of ‘home’? How will this unpredictability move my art and me? I did have a lot of questions to myself after being confronted with this predicament.

Nothing is permanent; the only constant thing in life is change. ‘Home’ is not a place; your home is you.

These answers revealed themselves to me and together with this change I was going through, I realized my artistic practice was also transitioning and evolving. In a series of 10 paintings entitled Fragments I started indexing my personal belongings from my home of 7 years and took photos of them reminiscent of still life paintings of the Middle Ages. I painted these commonplace objects, which have sentimental meaning to me; some were given to me as a gift or handed down to me, and some I had collected over the years; I also included one of my favorite foods. There’s not so much of a story in each composition; these objects symbolize fragments of the past and of time a time in my life and through painting I am able to explore a more modern, less traditional approach to still life painting.

In The Way To Keep Things Alive and Saving Things That Eventually Die I continue to paint portraits of women in kimonos signifying the influences I had growing up in a garments district but this time the women are holding and carrying objects, as if moving them from one place to another. It also signifies my attachment to my belongings that have sentimental value and transitioning into something unknown. In my other works I regenerate and continue to practice a more conceptual approach to portraiture by incorporating paper objects in my paintings.

My body of works still explores both autobiographical and conceptual approaches to art; still attempting to display the gaps and unpredictability of things, of life, of art; but instead of just looking back and referring to history I am looking forward to more unknown offerings and more transitions.