Amelia Salisbury
 

 

My practice moves through painting, drawing, video, and poetry. My process is rhizomatic, and ferries between many projects. Several elements may describe it; these include: mining & pastiche, trace (as in vestige or artifact) & plasticity, projection & relief, and sound & reincarnation. Using stains, spills, clay impressions, patterning, stitch-work, stamping, animation, text, material nuances, the ready-made, and lists I tell stories and conduct experiments. Filtrations of my vision grow tactile and have their origin in sensations of tenderness. The outcome/products fall short and for this I apologize; however, process is (though sometimes insubstantial/difficult to place) the gem that my works seek to discover as an end means.

MINING & PASTICHE: My work sometimes resembles a confessional or diaristic form, but also attempts to emphasize shared human experiences, especially in relation to rituals, containment, and the fluid properties of perception. What may feel small and delicate within the everyday is given resonance. I'm interested in fashion, emotion, thought-structure, and play; each as unique celebrations, failures, and recoveries of (and from) our fragile trajectories. Collages echo some tangible figurations of our existence and I echo this too, through fragmentation, borrowing, and appropriation; story-telling, mostly, associatively.

TRACE & PLASTICITY: I'm drawn to respiratory relationships, transcribing layers of blossom and decay. My explorations attempt to investigate sincerity and to explore confusions in the Möbius orbits of content and form, which pertain to genesis, boundaries, and the extinction in ideas and understanding of self and other.

"What kind of cigs did Grandma Clara use to smoke? Virginia Slims, right?" "At the end I think. Also Salem and early on Camels, I think." "What are you doing Friday--We have snow here." "I'm staying home to work in the garage!!!" We can chat???" "Sure."

PROJECTION & RELIEF: As in Pliny the Elder's story, "Butades of Corinth," wherein, the origins of painting are described in the act of a potter's daughter tracing the profile of her departing lover's face, (and moreover, the origins of sculpture described in the act of her father, Butades, filling in this outline with clay), my process also engages, perhaps more faintly, with devices such as casting, projection, and relief. This effort regards remembering and memorial and to speak of memory itself and the relationships there of accrual, duration, and loss. In my paintings, figurations are often imprinted drawings, first articulated on clay tablets, then stamped. I'm interested in the indexical mark and in the mark that simultaneously conveys both itself and the story of its history, which relate back to a kind of reversed archeology.

SOUND & REINCARNATION Synesthesia and translation of the lattice of sensual experiences are an alchemical music. That is the kind of ideal sought for across my practices of art making and in the day to day; to notice one language embedded in the texture of another. Color accretes in vague rainbow tendencies, then subtracts from itself, as imaginably, the body can also be diminished from its soul, sometimes violently. Below I write one rainbow from a sea of innumerable rainbows. It is an act of conclusion and joy. The joy emulates the joy of children in the making of their perfect and curious rainbows.

Atop the bells are there in splintering resin glitter (sanded sea foam pigment over dried orange). Upon a bleating of goats and horns, then that quietude after mirth in the dark blood of sadnesses * (pinks and earthy). With hoarse wind tangled on metallic foils warmed and salted Father Hen: someone bends over to place flowers on the floor (there is breathing, then, absence)


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