R. Monroe

2015 - 2018

Eight women offer an unapologetic demonstration of identity and sexuality. Their body language and gestures contradict the passive reclining female pose through their active occupation of space. The collaboration between artist and sitter invites the viewer into a powerful dialogue, limned in black and red ink.

2018

The episodic way we recall our memories creates a visual stock of imagery in our mind’s eye. Experimenting with the structure of the typical family snapshot, I reconstruct places visited, sights seen, sounds heard, aromas smelled, and people met. I gather fields of color and textural imagery using line and form as a driving force. The indistinct subject matter ties the perspective of self with that of an outside observer. The diptych format solicits the viewer to reminisce, finding a connection between canvases and memories.

2018

After rebuilding a home from a devastating fire, I was surrounded by color. Color swatches from paint stores, appliances, flooring samples and kitchen designs. I visually investigated the relationship between the color swatch and title using found photos, personal collections, and scanograms. The titles in particular educe striking imagery in unpredictable ways. The creation of these photographs was a cathartic outlet in a time of intensity, stagnation and rapid change.

2017

 2017

Incompatible photography techniques - cyanotype and salt printing - are unified in this series to capture the stirrings of unrest in the heartland of America. The gestural application reveals the passion expressed by the protesters at the 2016 Women’s March in Columbia, Missouri - amassed voices asserting their right to be heard. Voids left where these historical techniques negate each other present an opportunity to tell a resounding story of the danger of silence.