By Raymundo Muñoz
It’s odd that a show titled “Forgetting is so long” is one that I would seemingly forget to write about. In truth, though, I did not forget: it was simply lost in the eddies of self-doubt. Seriously, I’ve rewritten this piece again and again, exploring different angles, playing with alternate openings, going terse, going verbose. All scrapped. So much graph paper, you’d think I was sketching out a novel. I passed my self-imposed deadline and then passed a practical deadline (right before the closing), so really there’s no logical reason to continue, and yet here I am again, going for broke with a risky paragraph probably no one will read nor remember. Just me and my endless what-ifs snaking between the words. It’s like looking at an old photograph and…wait a minute.
Maybe that’s the point of Daisy Patton‘s “Forgetting is so long,” or at least one of them. Allow me to elaborate: not really having much family of her own, the artist throughout her journeys has looked for family members to adopt, be it friends, colleagues, teachers, etc. In this case, though, such members were found in the old photographs of people she doesn’t know. Through various painterly alterations, she fills in the what-ifs with idiosyncratic details that make the unknown values suddenly known. By her own admission, the process can be cathartic, but is it valid? I mean, how can painting over a blown-up picture of a stranger really connect you with them? In my mind, when you consider how we view the people we do know, what colors and lights we cast upon them, it’s not all that different–in fact, it seems pretty valid. We’re taking pictures and painting over them everyday of our lives, seeing what we want to see, hiding the truth, and seeing what’s not there in a fevered play at finding something out about ourselves that we knew all along. It’s all about the process, and Daisy Patton shows her process well.
“Forgetting is so long” was on display at Michael Warren Contemporary Gallery, but that time has passed. Photos are from the opening reception where works from other gallery artists were also on view.
“Untitled (Norma Palius)” by Daisy Patton
“Untitled (Vertigo)” by Daisy Patton
“Untitled (Brian, 9 yrs 1954) by Daisy Patton
“Untitled (Christening)” by Daisy Patton
“Untitled (Universal Studios Denver)” by Daisy Patton
“Untitled (Lavender Lady)” by Daisy Patton
Daisy Patton with “Untitled (Novak)”
Teresa Booth Brown