Love Letters - Invitation: George Farquhar to Anne Oldfield, Sunday After Sermon [1699?]

Love Letters

Acrylic, Graphite, and Conte Paintings on vintage book and paper.

Collection of love letters written by historical figures and famous lovers throughout the ages. The phrases of the hand-written pieces correspond to loving, passionate, sometimes humorous excerpts from each letter, the text partially obscured by paint ground.

In these pieces, I appropriate a pre-existing text, here letters, and obscure the original document which serves to act as a mirror for the ideas, needs, and desires of the viewer. The idea of covering is twofold: First, simply, that these are private letters. Intimate thoughts and words, often delivered in secret, hidden, intended only for two people, and their eyes alone. Secondly, the hidden words act as a metaphor for the subconscious – an awareness and the thoughts that exist just under the surface, almost out of reach, barely perceptible. The unspoken that I believe exists in us all. As the words are concealed and the paint eventually dries, small, seemingly trivial details – random words and phrases emerge, as if bubbling from the subconscious, while the larger picture and context are erased.

The pieces are always painted and presented in a set of two, representing the duality of nature and suggesting that there are two sides to every story. Certainly, this work is about human emotion — the spectrum from love to hate, or indifference rather, and all the messiness in-between. While these pieces may seem simple in execution, the concept runs deeper. I take much time pondering, searching for just the correct phrase to write on the finished piece. It must resonate with me. If not initially, then after I obliterate the text. The words often find me. The paint, which resembles Rorschach inkblots, forms a ground from which I tease out words. I purposely scribble, giving the work a dashed-off quality, another metaphor for emotion. For me, anything "too perfect," too calligraphic would just be robotic and negate the feeling. Beauty in imperfection. The pieces become a palimpsest of sorts, subverting and transforming language, creating a new form.