Lot 392 - Daisy Patton - Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019

Lot 392 - Daisy Patton - Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019

Print on Paper
2020
A6 (10x15cm) print
Signed on verso
ARTIST INFO

Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton’s work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. 

Education

Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. 

Exhibitions/Awards

Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton’s practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 selected exhibitions Upcoming “Lush,” Hashimoto Contemporary, 210 Rivington St., New York, NY, Jan.-Feb. 2021 Solo at J. Rinehart Gallery, 319 Third Ave. S., Seattle, WA, Apr. 2021 Solo “Burnt Hair Spun Gold” at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 “Put Me Back the Way They Found Me,” curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 “Lineages in Bloom” at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 “Would you be lonely without me?” at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 “Forgetting is so long” at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 “A Rewilded Arcadia” at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 “This Is Not Goodbye,” curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 “Would you be lonely without me?,” Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 “Throw My Ashes Into the Sea,” solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 “Forgetting is so long,” at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 “Forgetting is so long” at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 Two Person/Group “Untitled Art Fair” with K Contemporary, Dec. 2-6, 2020 “Greetings from Miami,” Hashimoto Contemporary, 210 Rivington St., New York, NY, Dec. 2020-Jan. 2021 “Intersect Aspen art fair” with K Contemporary, Aspen Ice Garden, July 2020 “#ArtFindsUs, a Mobile Art Experience,” K Contemporary, Denver and Boulder stops, Apr.-Jun. 2020 “10th Anniversary Show,” Paradigm Gallery, 746 S. 4th St., Philadelphia, PA, Feb.-Mar. 2020 “How to Care for the Succulent,” Spring/Break Art Show, New York City, NY, Mar. 3-9 2020 “LA Art Show” with K Contemporary, Los Angeles, CA Feb. 6-9 2020 “Pulse Miami Beach 2019” with K Contemporary, Miami Beach, FL, Dec. 5-8 2019 “Context Art Fair 2019” with Hashimoto Contemporary, Dec. 3-8 2019 “This is Not a Photo” at the Curtis Center for the Arts, 2349 E. Orchard Rd., Greenwood Village, CO, Apr.-May 2019 “Ghostly Traces: Memory and Mortality in Contemporary Photography” curated by Geoffrey Shamos and Graduate Gallery Assistants, Vicki Myhren Gallery, University of Denver, 2121 E. Asbury Ave., Denver, CO, Mar.-Apr. 2019 “Pulse Miami Beach 2018” with K Contemporary, Dec. 6-9 2018 RedLine 10 Year Anniversary Resident Show, RedLine Contemporary Arts Center, 2350 Arapahoe St., Denver, CO, Jan.-April 2018 “Pink Progression” curated by Anna Kaye at the Vida Ellison Gallery at Denver Central Library, 10 W. 14th Ave Pkwy, Denver, CO, Mar.-June 2018 “Cross Pollination,” curated by Valerie Roybal, 516 Arts, 516 Central Ave SW, Albuquerque, NM, Aug.-Nov. 2017 “Complementary,” Art Students League Denver, 200 Grant St., Denver, CO, Oct.-Nov. 2017 “Land Trust,” curated by Libby Barbee and Kirsten Marie Walsh, RedLine Contemporary Arts Center, 2350 Arapahoe St., Denver, CO, Aug. 2017 “Process: The Altered Photo” at Helikon Gallery, 3675 Wynkoop St., Denver, CO, Mar. 2017 “From the Pages,” curated by Paradigm Gallery and Ekaterina Popova, Paradigm Gallery, 746 S. 4th St., Philadelphia, PA, Jan.-Feb. 2017 “Nice Work If You Can Get It,” curated by Daisy McGowan, Resident Artist Show at RedLine Denver, 2350 Arapahoe St., Denver CO, Jan.-Feb. 2017 “My Life: LA x Kobe Exchange Exhibition” at Gallery Serendip, Kobe Design University, 8-1-1 Gakuennishi-machi, Nishi-ku, Kobe, Japan, Oct.-Nov. 2016 “Reinventing the Image” at the Museum of Outdoor Arts, Englewood, CO, Oct.-Dec. 2016 “Looking Back/Moving Forward” at the Arvada Center for the Arts, Arvada, CO Sept.-Nov. 2016 “Visitation” at Gray Duck Gallery, 2213 E. Cesar Chavez, Austin, TX, June-July 2016 “Monumental” Resident Artist Show at RedLine Denver, 2350 Arapahoe St., Denver CO, Jan.-March 2016 “Art of the State 2016” at the Arvada Center for the Arts, 6901 Wadsworth Blvd, Arvada, CO Jan.-March 2016 “Art in America on Tour,” curated by Julie Torres at the Elizabeth Stone Harper Gallery, Harper Center for the Arts, Presbyterian College, 330 5th Ave., Clinton, SC Jan.-Feb. 2016 “Art in America,” curated by Julie Torres for Artist Run, organized by Tiger Strikes Asteroid at The Satellite Show at the Ocean Terrace Hotel, 7410 Ocean Terrace, Miami Beach, FL Dec. 2015 “Perspective,” juried by Cory Oberndorfer, at Hillyer Art Space, 9 Hillyer Court, NW, Washington DC, Oct. 2015 “It’s All Personal” at the Elizabeth Beland Gallery, Essex Art Center, 56 Island Street, Lawrence MA, Sept.-Oct. 2015 “Bright Young Things” at Galleries of Contemporary Art (GOCA), University of Colorado, Colorado Springs, Colorado Springs, CO July-Aug. 2015 “The National Weather Biennale,” juried by Mel Chin, at The National Weather Center, 120 David L. Boren Blvd, Norman, OK, April-June 2105 “Just Playing,” curated by Petra Sertic, Resident Artist group show at RedLine Denver, Denver, CO Jan. -March 2015 “Here We Are, Who Cares?” At Ft. Point Arts Community, 300 Summer St, Boston, MA, July 2011 “Chain Letter” at Samson Projects, 450 Harrison Ave., Suite 63, Boston, MA, July 2011 “Thesis: I’m Perfectly Fine Without You” at NK Gallery, 460A Harrison Ave, Boston, MA, April 2011 “Collective” at Mission Hill Building Gallery, 160 St. Alphonsus St, Boston, MA Oct. 2009 K Contemporary in Denver, CO, USA; J. Rinehart Gallery in Seattle, WA, USA

About the postcard artwork

Artist Statement for ""Forgetting is so long"" (paintings from this series) “What rituals are useful to locating someone who’s gone. Our story has no language. My loss always in communication with your loss.” —Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of 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. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. 

In ""Forgetting is so long,"" I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a “shock into being.” Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance. Bright swathes of colour and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and ""reborn"" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.