ainekitraverso@gmail.com // Daddy Issues Studio
Selected Exhibitions:
- Little Things 2022; Swan Coach House Gallery; Atlanta, GA; 2020 (FORTHCOMING)
- Paraíso; Fruit Stand Gallery; Winston, NC; 2022 (solo) (FORTHCOMING)
- Preface; Echo Contemporary Art; Atlanta, GA; 2022
- Of the Fantastic: Extraordinary ATL; AE Atlanta x Dashboard, curated by Lauren Jackson Harris; Atlanta, GA ;2022
- Projekt 202 AAPI Exhibition; MINT Gallery; Atlanta, GA; 2022
- Eyes Can Only See So Much; TSA Greenville x Eso Tilín Projects; Greenville, SC; 2022
- &yet again; Dalton Gallery at Agnes Scott College; Atlanta, GA; 2022
- Little Things 2021; Swan Coach House Gallery; Atlanta, GA; 2021
- The Privilege of Getting Together III; Regular Normal x Swivel Gallery; Brooklyn, NY; 2021
- Little Things 2020; Swan Coach House Gallery; Atlanta, GA; 2020
- I’m looking forward to tomorrow; Good News Arts; High Springs, FL; 2020
- Canto DC; District Irish Dance Academy; Washington, DC; 2020 (solo/residency)
- The Imaginary Million; Wonderroot; Atlanta, GA; 2017
Residencies:
Vermont Studio Center, Jan 2023-Feb 2023 (FORTHCOMING)
Press:
“The Mirror”, Studio Visit by Alexandra Hemrick; The Coastal Post, 2022"
Arts & Entertainment Atlanta Launches New Digital Exhibit Curated by Lauren Jackson Harris"; Saporta Report, 2022
“The Privilege of Getting Together III"; Juxtapoz Mag, 2021
Publications as Author:
- Rivulet - rivulet.net, artwork, rivulet 7: exquisite braid—quarantine seeds, 2021
- Bat City Review - print issue, artwork, Issue 16, 2020
- Rivulet - rivulet.net, artwork, Issue 3, 2017
- WUSSY MAG - wussymag.com, artwork, The Fight Issue (2), 2017
- Brightest Young Things - brightestyoungthings.com, writing and photography, 2010-2012
Education:
2013 BA Sarah Lawrence College; Bronxville, NY
In painting, I aim to find and depict versions of a paraíso, which for me is a place that can only exist within the medium of painting–since the materiality of the medium transforms the imagined and the fantastical into a physical object, and the techniques inherent to painting render an infinite motion describing a dream-like or unreal space.
In painting, I examine the personal stakes involved in memory and identity formation. The medium of oil paint echoes the way identity is constructed; by layering images that surround us, both photographs, media, and ephemera, the painting parallels how visual objects overlap to shape our sense of self.
Framed by figuration, my works explore Wittgenstein’s theory of timelessness: my paintings are evidence of an “eternal life” accessed through the materiality and action of painting. I study an image and practice its form several times until I have memorized its shape, then I paint my final versions from memory, utilizing the abstractions that result from painting from an indirect source (memories). By distorting the images through the imperfect process of remembering, I can access the feeling of imagining a homeland never traveled to, or an ancestor never met.