Inspired by observations, memories, and daily routines, Emily creates work that reinterprets traditional patterns and describes her experience of inhabiting domestic spaces. Born into a family of resourcefulness, thrift and industry, she enjoys collecting, altering, and re-purposing scraps; turning discarded paper, clothing, paint, magazines, letters, and other supplies into improvisational new compositions embedded with personal history. Employing various techniques, including painting, sewing, collage and assemblage, she explores themes associated with domesticity, routine, gender and consumption and draws attention to spaces and objects that are typically overlooked.
more as simply…not enough
Sedrick Huckaby From Earth to Heaven
Art and Prayer
It is indeed a strange thing to speak from one's heart without knowing the exact words to verbalize the experience. This phenomenon happens within the language of painting. A painting is a quiet dialogue in which volumes of information are slowly and silently revealed, yet its entire essence can be experience within a moment's glance. I believe my paintings are done in a language more closely in tune with my soul then the language of my tongue. For me, the act of painting is not just a means to a product; it is also a meditative process of communication. Thus, it is with the visual language that I choose to speak about the most pressing issues of life. The resulting paintings speak about the outer world around me and the inner world within. Multifaceted works with layers of meanings are a consequence of working between the dichotomy of internal and external inspirations. If my paintings are successful they will not only speak to the viewer's intellect, but they will speak to the deeper being that lies beyond words as well. It is said that every man prays in his own language and that God understands all languages. At the end of life, my created hope is that God is pleased with all of the prayers I left behind in the form of paintings.
-2004
It is indeed a strange thing to speak from one's heart without knowing the exact words to verbalize the experience. This phenomenon happens within the language of painting. A painting is a quiet dialogue in which volumes of information are slowly and silently revealed, yet its entire essence can be experience within a moment's glance. I believe my paintings are done in a language more closely in tune with my soul then the language of my tongue. For me, the act of painting is not just a means to a product; it is also a meditative process of communication. Thus, it is with the visual language that I choose to speak about the most pressing issues of life. The resulting paintings speak about the outer world around me and the inner world within. Multifaceted works with layers of meanings are a consequence of working between the dichotomy of internal and external inspirations. If my paintings are successful they will not only speak to the viewer's intellect, but they will speak to the deeper being that lies beyond words as well. It is said that every man prays in his own language and that God understands all languages. At the end of life, my created hope is that God is pleased with all of the prayers I left behind in the form of paintings.
-2004
"At the end, all that's left of you are your possessions. Perhaps that's why I've never been able to throw anything away. Perhaps that's why I hoarded the world: with the hope that when I died, the sum total of my things would suggest a life larger than the one lived."
-The History of Love, Nicole Krauss, p. 165
Similar to the finding that reviewing notes taken during class boosts retention better than merely taking notes (Bui, Myerson, & Hale, 2013; Knight & McKelvie, 1986), it may be that our photos can help us remember only if we actually access and interact with them, rather than just amass them.
A Thousand Words: Writing from Photographs, Casey N. Cep
Mother says there are locked rooms inside all women, kitchen of love, bedroom of grief, bathroom of apathy. Sometimes, the men, they come with keys, and sometimes the men, they come with hammers.
-Warsan Shire, The House
“In my own work I do everything by hand… my hand will always be imperfect, because it’s human… If I spend a lot of time going over the line and over the line trying to make it straight, I will never be able to make it straight. You can always see the line waiver, and I think that’s where the beauty is.” - Margaret Kilgallen
"Therefore, the places in which we have experienced day-dreaming reconstitute themselves in a new daydream, and it is because our memories of former dwelling-places are relived as
day-dreams these dwelling-places of the past remain in us for all the time."
--Gaston Bachelard, The Poetics of Space
The act of living together is a process of discovery, excitement, and confusion. As individuals, we develop rules and patterns that form the foundation of our days. For some, rules are steadfast, while others find comfort in exploration and change. Combined, these habits reflect our unique personalities and inform our daily lives.
When two people share an intimate living space, they must engage in the process of compromising current systems and creating new ones. The result is...
When two people share an intimate living space, they must engage in the process of compromising current systems and creating new ones. The result is...
Inspired by observations, memories, and daily routines, I create work that reinterprets traditional patterns and describes my physical surroundings. A child of resourceful, thrifty and industrious, I enjoy collecting, altering, and repurposing scraps; turning discarded paper, clothing, paint, magazines, and other supplies into improvisational new compositions. Employing various techniques, including painting, sewing, collage and assemblage, I explore themes associated with domesticity, routine, gender and consumption and draw attention to spaces and object that are typically overlooked.
We inhabit a world of overproduction and excess. Inspired by observations, memories, and artifacts from her daily life, Manning-Mingle creates work that explores her relationship with "stuff. Employing various techniques, she explores issues of domesticity, routine, and consumption. The resulting compositions are strange, yet familiar, reflections of daily life.
An object's history and our individual experiences with it impact how we interact with it and the emotional responses it elicits in us. Inspired by observations, memories, and artifacts from her daily life, Manning-Mingle creates work that explores her relationship with "stuff."
We inhabit a world of overproduction and excess. Inspired by observations, memories, and artifacts from her daily life, Manning-Mingle creates work that explores her relationship with "stuff. Employing various techniques, she explores issues of domesticity, routine, and consumption. The resulting compositions are strange, yet familiar, reflections of daily life.
An object's history and our individual experiences with it impact how we interact with it and the emotional responses it elicits in us. Inspired by observations, memories, and artifacts from her daily life, Manning-Mingle creates work that explores her relationship with "stuff."
http://www.theatlantic.com/entertainment/archive/2016/03/marie-kondo-and-the-privilege-of-clutter/475266/
Inhabiting a space, we often act in a way that both reveals and conceals ourselves. We decide what and how we present ourselves.
http://internationalfibercollaborative.com/html/2010artist.html
thrift and industry of rural southern life
Stitching together stories...
America glorifies overproduction and excess.
Engulfed in paper.
paper stacks
paper quilts--joining / stories
exploration
Many memories of my childhood home revolve around paper--my mother's over flowing book shelves, the weekly t.v. guide, piles of The New York Times, my 1/2 filled journals, stacks of reports from my dad's home business. It seemed like there was an endless amount of information. As if each page of the internet had been printed out and forgotten--left for future generations to discover.
Types of paper
-report cards
-homework handouts
-letters
-journal pages
-photographs
-newspapers
-magazines
-junk mail
Inhabiting a space, we often act in a way that both reveals and conceals ourselves. We decide what and how we present ourselves.
http://internationalfibercollaborative.com/html/2010artist.html
thrift and industry of rural southern life
Stitching together stories...
America glorifies overproduction and excess.
Engulfed in paper.
paper stacks
paper quilts--joining / stories
exploration
Many memories of my childhood home revolve around paper--my mother's over flowing book shelves, the weekly t.v. guide, piles of The New York Times, my 1/2 filled journals, stacks of reports from my dad's home business. It seemed like there was an endless amount of information. As if each page of the internet had been printed out and forgotten--left for future generations to discover.
Types of paper
-report cards
-homework handouts
-letters
-journal pages
-photographs
-newspapers
-magazines
-junk mail
All images © Emily Manning-Mingle 2014