Mira Gerard

I make paintings of the figure as a way to understand desire, which functions in my work in part as a fantasy about being both subject and maker. For several years when I was growing up, my family lived in a small intentional community in rural New Hampshire with no TVs and with limited access to experiences of mainstream American culture in the 70's. I became fascinated with fairies and fairy tales, along with the meadows, stone walls and woods around me. During that time, I was a frequent subject of my father's paintings- usually depicted playing in fields of flowers in sun-drenched afternoon landscapes.  

Ten years ago I quite literally stumbled into Lacanian psychoanalysis. It's a practice of speaking freely and in a very nonlinear way, which parallels studio processes of sorting through fragments, pieces of images and ideas, to make something new that remembers (re-members).  I create staged photographs and videos and supplement those with screenshots, art historical references, and collage. I am specifically interested in figures or elements in landscapes and spaces, and in the implication of a kind of storyboard, a before-to-after. Because the process of painting itself feels necessarily perfomative and vulnerable, I try to communicate this through both content and approach. I have embraced traditional, old master forms of construction, with a method in place for the breakdown of those processes to occur, so that the paintings themselves are like landscapes and bodies- a physical manifestation of interruptions, scars, layers, and time.