“The inside and the outside: the infinite fold separates or moves between matter and soul, the façade and the closed room, the outside and the inside. Because it is a virtuality that never stops dividing itself, the line of inflection is actualized in the soul but realized in matter each one on its own side. Such is the baroque trait: an exterior always on the outside, and interior always on the inside. An infinite ‘receptivity,’ an infinite ‘spontaneity.'”
– Gilles Deleuze, The Fold
My recent drapery paintings reweave Deleuze’s ideas of internal versus external and virtual verses actual. The work contains fabric images painted from unfolded draperies filled with wrinkles, metaphorically suggesting “skins.” I have used the pieces of cloth serially as still life objects in previous paintings (to allude to draped figures in Renaissance paintings) where I twisted, tied, and pinned them into postures, after which I unbound them, folded them for storage, and later unfolded and used them differently for new paintings. The draperies reappear and evolve, embodying new ideas with each reuse.