Patterning evokes in me strong sensory memories of my childhood. The navy plaid of my catholic grade school uniform fills my head with the smells of dust and chalk, and with detailed images of sitting in church with my whole school singing hymns, whispering to each other, and passing notes around the pews. I see my best friend Karen knocking out her two front teeth as she gives a violent and amazing rendition of Grease Lightning in the church parking lot that was our schoolyard.
The pattern of the olive green wallpaper (which these drawing are remarkably similar to) reminds me of so many private family affairs that took place in the house that it decorated and I grew up in. I used to play visual games with that wallpaper finding faces and animals and characters in that pattern. (It looks like I still am.)
These kinds of strong emotional ties to pattern led me to consider what it is that has made so many people drawn to the use of pattern in both our intimate and public surroundings.
These drawings are a part of that investigation. So I use familiar patterns but I shift them and put them on the verge of collapse. This recent investigation via drawing and thinking about current events and history led me to certain conclusions about pattern. I take a pattern (that I've seen, used, and thought about for a long time) and I build with it, simultaneously destroying it to make room for the new more fun and hopeful ideas to grow out of the cracks.
By shifting patterns, I create precarious structures out of words representing people I love who are parts of my social structure. I remind myself, through these drawings, of the both scary and hopeful notion of inevitable collapse. By playfully allowing the new growth of doodles and cartoons to come out of the shifted pattern I am keeping this notion of fragility more playful than scary in order to invite myself and others to feel free to alter and change things.
Artist Bio / CV
Monica Carrier studied art at the Philadelphia High School for Creative and Performing Arts. After graduating she waited tables and traveled around the United States. She then went to Tyler School of Art and studied painting and glass. She studied art in Rome, Italy for 5 months on a Temple University Scholarship. She received her BFA from Tyler School of Art, Temple University in 2002. That same year she was awarded the Alec Abels Memorial Award in Painting. In 2007 Monica graduated from Hunter College with an MFA. While at Hunter, she received the Graf Travel Grant and used it to take on a 5-week, independent study of Moghul Period art and architecture throughout India. She was recently awarded the A.I.R. Fellowship for emerging female artists for the 2008-09 period. She has exhibited her work nationally and internationally. She lives and works in Brooklyn with her dog Keesha and her husband Nathan Frey.