The Queen of Sorrow is a large format painting and part of a body of work that I called Tapestries. The form and structure of language are woven into brushstrokes and color. The narrative of the series is based on the duality of the written word. Writing both reveals and conceals and it can twist and turn like a double-edged sword. Words can cut and destroy or open and heal. Ideas, history, and information are recorded with marks. Marks that can be twisted and changed to suit the author. History fluctuates like a chameleon changing to fit into different power structures.
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I use my brush marks to trace parallels across the globe. The forms are layered over forms like Graffiti on city walls. The physical act of layering becomes a metaphor for history. Combinations of opposites nature and technology, the past and the present are painted into the same space. Images are buried in the deepest layers and excavated from anthropology then reformed to my own subconscious script. It is a script that is fogged over and pushed back into the distance like a memory.
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