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Los Angeles-based painter Erin Wright depicts what she describes as the “intimate and ruinous relationships” between objects in her carefully crafted still life paintings. Engaging ideas of early domestication in 18th century architectural history and religious narrative, Wright aims to blur the boundaries between the divine, the secular, and the natural. She draws inspiration from Joseph Rykwert’s 1967 book, ‘On Adam’s House in Paradise,’ as a narrative base, removing the masculine and relying on the perspective of the unseen feminine. “Informed by these themes, the paintings focus on the idea of the ‘first house,’ and of its unseen dweller,” she explains. “The objects that make up the composition of each painting portray a chronicle of ritual, seasonality, control, and suggestive pleasure.”

In addition to her thematic explorations, Wright’s paintings are an exercise in technique: the paintings mimic the machine-made quality of an architectural rendering through isometric posturing and seamless textures.  The digital seeming representation latently supports the agenda around indifference and presentation. Every detail is examined equivocally. Groupings and relationships between objects are rendered non-hierarchically as- they become blatantly arbitrary with uncanny relationships with their surroundings and contexts.”

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