Taking Place is an autonomous imaginary realm, a painted environment and an open invitation to the viewer. A site for sociability and community. A place to observe and connect. Experiences that slow down our perception of time. As the viewer moves through the galleries they will see visual references to the Copeland gardens, the Asian Export Art collection, an intimate drawing room and numerous beloved PEM objects. Depending on the viewer’s location there are multiple compositions that emerge and allow for reflection on our relationship with material culture.

The imagery for the work is informed by PEM’s distinguished collections and it was an experience of a lifetime working with the dynamic curatorial team, studying the objects up close, walking through the historic homes and exploring many works that have never been on view. Cross-cultural relationships and compelling visual connections were discovered, leading to a composition that spans across the collections, including American Decorative Arts, Asian Export Art, Oceanic Art and Culture, Native American, Maritime, Fashion and Textiles and Korean Art.

The repetition of the oval shapes found within PEM’s American Decorative Arts collection range from formal to more organic and are representative of a history of cultural exchange. The half oval shape can be found in the transom above front doors of historic homes in Salem, within the fireplace mantles carved by Samuel McIntire and even the composition of sea shells used to make an object in PEM’s collection, “Island Bride” by artist Brian White.

The decorative arts are the oldest new art there is! I’m deeply interested in how material culture shapes personal identities, reinforces or challenges cultural hierarchies and connects people across time and space. My process involves an in depth investigation into imagery from the history of the decorative art and then applying existing methodologies of my contemporary art practice. By working through found formal narratives, there is a search for context and connections; time itself is revealed and often experienced as the subject matter.

Through my own rigorous process and deep fascination with hand crafted details, I hope to honor the tremendous labor that went into making the original historic objects. The creation of Taking Place includes 210 hand drawn and hand cut stencils over the course of 6 months in my studio in Savannah, Georgia. PEM’s galleries then became my studio for two weeks while I made the painting installation on site in Salem. All of the stencils have been acquired by PEM for their permanent collection and will not be used again in my future projects, making Taking Place one of a kind!

Stencils and spray paint are often associated with street art, production and craft and often test the linguistic limit and currency of contemporary painting. However, the comfort and beauty of the decorative arts and the historic use of stencils has its own kind of artistic meaning that is exciting to me. During the installation process I’m able to create large-scale paintings quickly. It’s painting at the speed of air!

Decoration, its history and function are reinterpreted through the practice of scaling up the work to engage with PEM’s architecture and specific location. Taking Place is intended to create an all-encompassing experience from every angle. Viewpoints from the new atrium and expansion were taken into consideration to ensure that the perception of the space itself is fluid as the viewer moves through the installation. Ultimately, the work is completed by the presence of the viewer, their experience and memory.