PULP is pleased to announce a solo exhibition of recent work by the artist Daisy Patton. The exhibition will run from November 5th through December 4th.
“Brief Encounters is an iteration of on-going series Forgetting is so long, where I enlarge abandoned family photographs to life-size and paint over them as a kind of re-enlivening and presence. The exhibition is focused specifically on the portrait, a form that reveals the person depicted and their sense of self; the portrait holds both an understanding and meeting of the individual shown. These works expand and complicate the fractures of time—discarded photographs transfigured into painted portraits—by inviting viewers to consider each work as a form of visitation or return.
“Who do we choose to remember, and how? This fraught terrain encompasses family relationships, identities, and collective memorialization. For some, living memory can lengthen the presence of loved ones in our lives; we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. The family photograph is a vessel for retrieving memory, but as time accumulates, these emotionally laden images become unknowable, missing their necessary translators.”
Daisy Patton is a multi-disciplinary artist born in Los Angeles, CA to a white mother from the American South and an Iranian father she never met. She spent her childhood moving between California and Oklahoma, deeply affected by these conflicting cultural landscapes and the ambiguous absences within her family. Influenced by collective and political histories, Patton explores storytelling and story-carrying, the meaning and social conventions of families, and what shapes living memory. Her work also examines in-between spaces and identities, including the fallibility of the body and the complexities of relationship and connection.
Currently residing in western Massachusetts, Patton has exhibited in solo and group shows nationally, including a solo at the CU Art Museum at the University of Colorado, the Chautauqua Institution and the Fulginitti Pavilion at the Center for Bioethics at the Anschutz Medical Campus, as well as group shows with Spring/Break NYC, the Katonah Museum of Art, The Delaware Contemporary, the International Museum of Science and Art, among others. She has paintings held in public and private collections such as the Denver Art Museum, the Tampa Museum of Art, Seattle University, Fidelity Investments Art Collection, and in international airport Hartsfield-Jackson with Delta Airlines, among others. Patton’s work has been featured in publications such as Hyperallergic, The Jealous Curator, Transition Magazine, The Denver Post, The Chautauquan Daily, The Seattle Met, and more. Minerva Projects Press has published Broken Time Machines: Daisy Patton, a book with essays and poetry on Patton’s practice that debuted spring 2021.
Patton has completed artist residencies at Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, Minerva Projects, and Eastside International in Los Angeles. She has been awarded a Massachusetts Cultural Council grant, a Barbara Deming Memorial Fund grant, an Assets for Artists Massachusetts Matched Savings grant, a Montage Travel Award from SMFA for research in Dresden, Germany, as well as longlisted for the Aesthetica Prize 2022. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program, and has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. K Contemporary represents Patton in Denver, CO, and Foto Relevance represents her in Houston, TX.
GREGG STANGER
With a background in fine art and biology, Stanger found traditional photography to be the ideal intersection between art and science. In recent years he moved away from the camera, negative, and print; choosing to work with only light sensitive photographic emulsion. Without representing the outside world, Stanger’s imagery abandons photography’s conventional role of documentation. Instead his work focuses in on form, light, and time; exploring a broader, more abstract truth. Stanger’s cyanotype-based artworks on folded paper are built up through multiple layers of emulsions, exposures, and processings. The creases in the paper act as a structural template on which the emulsion is applied in repetitive patterns and fields. The cumulative effect of the layers of Prussian blue emulsion and the play of light and shadow on the folded surface of the paper create illusionary effects that oscillate between order and disorder.
Stanger lives and works in Queens, NY.