2023
painting: acrylic on wood panels and shapes
as exhibited at Museum of Craft and Design

Legendary Bay Area rapper E-40 has a song called Choices (Yup); in it, he posits that everyone has choices to make, and asks a series of questions that are answered “Yup” or “Nope”. Much of the song is the usual braggadocio, but it is fantastic, hypnotic, and deeply Bay Area, so much so that he rewrote it as a Golden State Warriors anthem , too.

For an exhibition on crafting a Bay Area life, I chose to navigate my own choices to stay or leave as a Bay Area native. This diptych’s composition is based on a stylized basketball court layout as I’ve considered whether I’m to remain the home team or the away team. I choose home, but being away is professionally necessary to play the game, too.

Ever since the terrible “Orange Day” of wildfire smoke in 2020, I have employed the complementary colors of blue and orange in certain projects. When you mix two complements, you get a range of more neutral shades: these shades are the fog and mist which move across this composition as well. Fog is such an enduring fact of life in San Francisco. It’s not easy to make clean “yup/nope” choices here in the Bay Area: decisions can be shrouded in fog, and held in a state of in-between-ness.

2022
paintings: acrylic on canvas
as exhibited at Silverlens

6 paintings included in ‘Aquifer’, an exhibition with MM Yu and Dina Gadia at Silverlens Gallery, Philippines. These paintings evolve Wofford’s ‘Rupturre’ project which speaks to history and crisis. However, this recent work is less about abrupt rupture while still being about change and other unstable, mutable energies shifting beneath the surface.

Images or terms that have informed this work, and the shapes and patterns within them: Energy. Mysteries. Spells. Portals. Power. Protection. Containment. Liminality. Neuroplasticity. Electricity. Psychedelia. Vision. Rage. Grief. Loss. Calamity. Battlefields. Flow vs break. Fluidity vs rigidity.

 

2016
solo exhibition
acrylic on canvas
Silverlens Galleries
Makati, Philippines

A suite of paintings rendering the aftermath of seismic ruptures. Based on images of empty, ghostly landscapes and destroyed roads from specific quakes around the Pacific Rim, the paintings function as metaphor for broader contemporary conditions of cognitive and cultural collapse. The works range in size from 2×3 to 4×5 feet.

2016
prints
for Songs For Women Living With War

A suite of portrait prints of some of the longest-living “Lolas”(Filipina grandmothers), WWII comfort women. Elders, activists–endurance, survival, grace and beauty. Curated by Johanna Poethig.