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Daisy Patton
Untitled (Sisters at the Beach)

2020

About the Item

In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait straddles the lines between memory, identity, and death. They are monuments to the forgotten.

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    Ships From: Denver, CO
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About the Seller
5.0
Located in Denver, CO
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Established in 2017
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    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait...
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  • Untitled (Family Portrait with Photograph)
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    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait...
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    2010s Contemporary Paintings

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    Oil, Panel, Archival Pigment

  • Untitled (Family Members with Patterned Dresses and Car)
    By Daisy Patton
    Located in Denver, CO
    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait...
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    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait...
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  • Untitled (Seated Woman with Plant and Flowers)
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    Located in Denver, CO
    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to r...
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    2010s Contemporary Paintings

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    Oil, Panel, Archival Pigment

  • Untitled (Blue Woman with Bouquet)
    By Daisy Patton
    Located in Denver, CO
    In Forgetting is so long, Daisy Patton collects abandoned, anonymous family photographs, enlarges them past their familiar size, and paints over them. She uses paint to disrupt, to reimagine, to re-enliven these individuals removed from their space and time. Family photographs are sacred relics to their loved ones, but unmoored the images become hauntingly absent. Taussig states that defacing these types of objects forces a “shock into being;” suddenly we perceive them as present, revered, and piercing. By mixing painting with photography, she lengthens Roland Barthes’ “moment of death” (the photograph) into a loving act of remembrance yet also a form of purgatory. Not alive but not quite dead, each person’s newly imagined and altered portrait...
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    2010s Contemporary Paintings

    Materials

    Panel, Archival Pigment, Oil

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