DAISY PATTON

Spring 2018

Daisy Patton’s expansive practice, marked by loss, fury and joy, is driven by information either embedded or implied in the source material she collects and mines from news stories and voracious reading. These found forms structure her research-based examination of the contours and workings of memory, expressed through painting, photography, drawing, embroidery, and interactive installations.

Much of Patton’s work starts with photographs researched online or physical objects discarded to be sold, images quoted from her archive of family photos, and even scans of her own deteriorating brain. Lists of animals pegged for extinction in North and South America by the International Union for the Conservation of Nature provide a starting point for her meditation on the impact on our environment of forgetting species that are not known widely.

Patton’s color palette vacillates between warm and hot, taking cues from tropical flowers and the streetscapes of her hometown, Los Angeles. Her portfolio is characterized by an interplay of picture planes. A compositional logic is enacted through the interplay of the enlarged photograph, articulated line, veil of color, absence of paint, and, distinctively, her treatment of surface that is fencelike, sometimes utilizing vegetal patterning.

Throughout her entire body of work, Patton constructs a visual metaphor for the mechanics of memory, its limits and the impact of these limitations. Her project is organized according to the artist’s commitment to resuscitating marginalized histories of people impacted by regressive, immoral practices: for instance, forced sterilization and the criminalization of abortion. As an emerging artist, Daisy has developed a distinctive style and way of seeing and working that facilitates contemplation and discussion in profoundly moving and relevant ways.

Born in Los Angeles, Daisy Patton moved back and forth between Oklahoma and California during her childhood. She spent much of her early years reading adventure and detective tales, history and art history books, and ghost stories. Patton’s practice is focused on history, memory, and social commentary. Her work explores the meaning and social conventions of families, little discussed or hidden histories, and what it is to be a person living in our contemporary world. Currently residing in Aurora, Colorado, Patton holds an MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at RedLine Contemporary Arts Center in Denver, the Studios at MASS MoCA, Eastside International in Los Angeles, and Anythink Libraries in Colorado. She will be an artist in residence at Anderson Ranch in fall 2017. Exhibiting in solo and group shows nationally, she is represented by K Contemporary in Denver.

For her exhibition and publication history please visit: http://daisypatton.com/bioandresume/

Client: HRAG VARTANIAN
Date: September 18, 2017
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2017, oil on archival print mounted to panel, 80 x 68 inches. Courtesy of the artist and K Contemporary, Denver.
Untitled (A Bulgarian Funeral), 2016, oil on archival print mounted to panel, 80 x 140 inches. Courtesy of the artist and K Contemporary, Denver.
Untitled (The Gardener), 2017, oil on archival print mounted to panel, 80 x 102 inches. Courtesy of the artist and K Contemporary, Denver.
Untitled (Sunshine Quality Apr 10 1934 Never Fade), 2017, oil on archival print mounted on panel, 80 x 60 inches. Courtesy of the artist and K Contemporary, Denver.
Melvina Hernández, 2017, embroidery on denim, 29 x 29 inches. Courtesy of the artist and K Contemporary, Denver.
Demo for text, 2015, embroidery on denim, 29 x 29 inches. Courtesy of the artist and K Contemporary, Denver.
Lola Huth, 2017, oil on paper, 30 x 20 inches. Courtesy of the artist and K Contemporary, Denver.
Jacqueline Smith, 2017, oil on paper, 30 x 20 inches. Courtesy of the artist and K Contemporary, Denver.
April 2010, #5, 2013, digital media. 20 x 16 inches. Courtesy of the artist and K Contemporary, Denver.
Detail from So Long, Farewell: Extinction in the Anthropocene Era, 2015, installation, dimensions variable. Courtesy of the artist and K Contemporary, Denver.
Thanksgiving 1982 (Baby Blanket), 2014, oil on panel, 12 x 12 inches. Courtesy of the artist and K Contemporary, Denver.