Burned back to air too soon
2021
each 12” X 16”
ash on paper

 
 
Cleaved  2020 17 3/4” X 15 1/8” Acrylic paint, graphite, and pumice on canvas

Cleaved
2020
17 3/4” X 15 1/8”
Acrylic paint, graphite, and pumice on canvas

 
 
 
 
 
 
Per Pound/Son 2020 12 5/8” X 11 1/2”  Acrylic paint, charcoal, and paper on fabric

Per Pound/Son
2020
12 5/8” X 11 1/2”
Acrylic paint, charcoal, and paper on fabric

 
 
 
soft, of fur, of skin, of voice, of touch, of hair, a whisper, barely there 2020 23 1/8” X 23 1/8” Acrylic paint, charcoal, and pumice on canvas

soft, of fur, of skin, of voice, of touch, of hair, a whisper, barely there
2020
23 1/8” X 23 1/8”
Acrylic paint, charcoal, and pumice on canvas

 
 

Drawings on paper:
2020
9” X 6”
graphite, acrylic paint and paper

 
 
Too Close to Touch 2020 12” X 11” X 1.5” acrylic paint, pastel, found flower petals, and paper

Too Close To Touch
2020
12” X 11” X 1.5”
acrylic paint, pastel, found flower petals, and paper

 
 
 
Unburial  2020 36” X 24” X 1.5” acrylic paint, clay, and salvaged bones of anonymous chickens on panel

Unburial
2020
36” X 24” X 1.5”
acrylic paint, clay, and salvaged bones of anonymous chickens on panel

 
 
Remains  2020 35.25” X 28.5” X 2.75” Charcoal, conté, acrylic paint and pumice on panel

Remains
2020
35.25” X 28.5” X 2.75”
Charcoal, conté, acrylic paint and pumice on panel

2900.jpg
 

An estimated 69 billion chickens were killed for meat production in 2018, making up the largest group of land animals killed for consumption. The vast majority of these birds are raised on factory farms and are bred to gain weight as quickly as possible in order to maximize profit. They have quadrupled in size since the 1950s and are killed much earlier— on average a mere 47 days into their 10-12 year life span.


In this work, I sought to acknowledge the 47 days lived by one of these individuals through ritual of making. I created a sequence of actions to do each day in order to create the work: drawing the chicken’s form on the panel, noting the day with a tick mark, covering over the drawing with a thin coat of paint, and then, when it dried, sanding the surface down. As the piece evolved, I came to understand it as an embodied gesture of sustained witness. As I gripped the panel tightly and pulled and pressed the coarsest sandpaper across the surface to dull the drawing, I felt the violence of erasure. As I scratched each tick mark, I was surprised at how few days had gone by and how many more to go. As I painted over the surface of the panel after each drawing, I obscured and preserved her body. As I brushed the dust from sanding into a container, I found I was collecting her ash. I made an urn for this ash to be displayed along with the painting.

 

Installation shots
Kemper Art Museum, 2021
Photo credit: Richard Sprengeler

2880.jpg