I get an idea, which I either photograph or look up by typing key words into google images. If I can't find an image, I paint it from memory and work out some sketches. This usually occurs when I've glanced something I can't return to or photograph, or when I can't obtain a photograph of it, like something on the highway on a remote road-trip or an obscure slice of an obscure painting at the Met.
I then paint as closely as I can, the original idea. If it's from a photo, I stick slavishly to the photo, in a submissive way. If I have to come up with it from memory or a sketch, the process is much more fraught and angst-ridden, with no confidence that what I'm making is actually mine. I think it's because in the process, I'm grasping for straws and may allow another artist's work to grant me permission to do things. I hate that. Working from a photo takes my consciousness out of it.
MFA 2000 School of the Art Institute of Chicago
BA 1996 University of Virginia
Giftland: Happy House, Apartment Show at Printed Matter, New York, NY
I wanna be somewhere, Daily Operation, New York, NY
Apartment Show at Envoy, Envoy Gallery, New York, NY
Brooklyn Queens, curated by Eddie Martinez, The Journal Gallery, Brooklyn, NY
Little Creatures, McCaig Welles, Brooklyn, NY
Extra, Extra, included in Jed Caesar's project, China Art Objects, L.A., CA
XOXO, Apartment Show, Brooklyn, NY
Everybody, curated by Ryan Schneider, Envoy Gallery, New York, NY
Conversations, Callalilai, Brooklyn, NY
Exhibition Zine, We Are Near, Allston Skirt Gallery, Boston, MA
Diamonds and Squares, work by Gina Beavers, Patrick Brennan, Allison Fox, SpiritDuder Press. 2007.