The paintings in this series are made from photographic documentation (taken by various women in my family), which I've tried to copy as skillfully as I can - without trying to add anything new or take anything away. I tried not to use any style of brushmark. I wanted to make my work into a mechanical process (like the photo's they are based on) because I know it is not entirely possible to achieve and there would always be something wrong to show up the real, unforeseeable limits of skill and perception.

More than the images themselves, the endeavor of painting and its obvious limitations weight this work down with constant awareness of context and history, in the tradition of painting as well as the social space of these specific photographic interactions. Because of this, I think the paintings are really more focused on what isn't framed and represented here, -and more specifically, the people who make photographic records, their intentions, and my belonging to and participation within all these processes.