Sleepwalking is a phenomena of combined sleep and wakefulness. For me it represents a state of mind existing in two disparate places at once, such as in one’s fantasy, memory or dream but disconnected with the conscious self. Lucid dreaming, may be the opposite as it is the sweet spot between reality and fantasy, knowing that you are dreaming in a dream. It can also be said that sleepwalking is a metaphor for moving through life with a lack of awareness of both the beauty and horror that surrounds us. All those ruminations are embraced in Sleepwalking.
In this series, square compositions zoom into interior environments with fleeting figures entering or leaving the frame. What’s left is an animated space where functional and decorative objects, along with shadows, reflections and swirling currents, reflect a residual energy, much like the remnants of a party or of a crime scene. Think of entering a room and being struck by the lingering emotion of what has happened just moments before.
Weirdly nostalgic, the horizontal storyboard paintings represent ephemeral moments through blurry visuals and glimpses of the forbidden and forgotten.
In graduate school I studied painting as film, and film as painting. Framing, composition, color, and lighting, more than imagery, were devices that told stories. I eventually began referencing images from cinematic history to transcend split–second moments of a story into an otherworldly, or fluttering existence. Movie genres from past eras and cinematic sources (specifically from the 40’s – early 70’s) are referenced in Sleepwalking to contrast the parallel energy of the past with that of the present. Autobiographically they serve as a barometer of changing social norms and resilience.
Each painting begins as a clean slate, a way to start all over again, a new day; akin to waking up from a dream you may never remember.
–Leslie Nemour