ainekitraverso@gmail.com // Daddy Issues Studio
Selected Exhibitions:
- Paraíso; Fruit Stand Gallery; Winston, NC; 2022 (solo) (FORTHCOMING)
- Little Things; Swan Coach House Gallery; Atlanta, GA; 2020, 2021, and 2022
- 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
- The Privilege of Getting Together III; Regular Normal x Swivel Gallery; Brooklyn, NY; 2021
- 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)
The Hambidge Center, March 2023 (FORTHCOMING)
Curatorial Work:
- A Brief Crack of Light; Echo Contemporary Art; Atlanta, GA; 2022
Press:
“The Mirror”, Studio Visit by Alexandra Hemrick; The Coastal Post, 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
Education:
2013 BA Sarah Lawrence College; Bronxville, NY
I aim to find and depict versions of a paraíso, which I imagine as 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.