“There is nothing that sustains us more in the hardships of our lives than a review of our childhood.”
-Eva Hesse Documentary by Marcie Begleiter, 2016 (PBS)

"We are on less familiar ground when we consider objects as companions to our emotional lives or as provocations to thought. The notion of evocative objects brings together these two less familiar ideas, underscoring the inseparability of thought and feeling in our relationship to things." 
"In every case, the object brings together intellect and emotion." 
"Other objects are naturally evocative because they remind us of the blurry childhood line between self and other - think of the stuffed bunny whose owner believes it can read her mind - or because they are associated with times of transition." 
-Sherry Turkle in Evocative Object | Things We Think With

"How wonderful to tread an invisible path, where what matters most can hardly be seen." 
"I'll have to remove my feminine self-doubt, which exists out of politeness; remove my second guessing, that utter waste of time; work harder , think harder -- all the violence I will have to do to my own softness, which as always been such a comfort."
"The fog of sleepiness that is my femininity, which has often threatened to drown me." 
"But how do you describe the absence of something?"
-Sheila Heti in Motherhood

"We should see the things we own as having more and more value, as their color mixes with the color of time, as the things we own become time. Part object, and part time."
-Sheila Heti in Should Artists Shop or Stop Shopping?

"...and so their memories took on potential, which is of course how the greatest nostalgias are born." 
-Mohsin Hamid in Exit West

"Childhood is a process of slowly recomposing oneself out of the borrowed materials of the world." 
"The sensation of seeing something long forgotten but intensley familiar washed over him, and in that instant it dawned on him that he hadn't grown up after all. Somehow, unknown to everyone, most of all himself, he'd remained a child all this time." 
"...that for most of my life I had been emulating the thoughts and actions of other people. That so much that I had done or said had been a mirror or what was done and said around me. And that if I continued in this manner, whatever glimmers of brilliant life still burned in me would soon go out." 
-Nicole Krauss in Forest Dark
 

"...and when he lounged out in his verandah with his cheroot, the last thing before going to bed, he made in the night the same sort of glow and the same size as that other one so many miles away." -Joseph Conrad in Victory

"...he describes the signifiers, or objects that children are given in childhood as microcosmic representations of signs and symbols and options they’ll negotiate in adulthood. Toys are a practice round for kids, they introduce them to the language of being an adult. At the time, I was thinking a lot about how to integrate alternative narratives into mainstream discourses."  -Saya Woolfalk on Mythologies by Roland Barthes

"Every real Americans story begins in innocence and never stops mourning the loss of it." -Joan Didion

“Due to a unique burden of conformity that they carry and a direct relationship to emotions, women are the most interesting subjects on film” 
-Todd Haynes

“…it is this mood of self-generation, as if the painting were a living organism willing to become itself on its own terms…” -Philip Guston

“…Fractured, sensual surface, a strangeness of form with ‘sprung’ rhythm, heavy alliteration and assonance-that achieved a secondary register distinct from a theme or meaning…” -Craig Burnett on Philip Guston in The Studio

“I see [my work] as being about America: fake, fun, pop, violent, but also quite attractive.” -Inka Essenhigh

"The contemplation of the womb, like staring into the starlit heavens, fills me with images of Somethingness or Nothingness. It was ever thus. If space is the final frontier, the womb is the first one - that place where, to borrow Wallace Steven's phrase, the idea of the thing becomes the thing itself. It is the tabernacle of our expectations. The safe haven we are ever longing to replicate in our latter-day habitats. A place where the temps are set, the rent is cheap, the food is good and we aren't bothered by telephones of the tax man. That space we are born out of, into this world, where the soft iambics of our mother's heart become the first sure versus of our being." -Thomas Lynch in Bodies in Motion and At Rest - On Metaphor and Mortality

"A condition of painting is that it should allow us to consider the possibility of things being other than they are." -Ray Yoshida in Touch and Go

"What are the fewest elements necessary to tell a story, many stories, to make a painting into a living thing?" -Laura Greengold in Philip Guston, A New Alphabet

"...he allowed his images to assume their own lives: letting the shapes shift and the forms take on new guises.." -Michael Kimmelman in The Accidental Masterpiece

"...and the chance that this abyss will give way to rythym...but painters pass through the catastrophe themselves, embrace the chaos, and attempt to emerge from it." -Gilles Deleuze in Fancis Bacon, The Logic of Sensation

"Empathetic outlines around the color areas prevent unhappiness, because we
know where one color ends and where another is forced to begin.

Long bridges connect places happy to be isolated, but also glad to be
linked.

Questions the drawings ask: How connected are people to each other? How
connected are the segments of the artists self? Must a self be "integrated"?

Other questions: How neat must we be? How messy? Can messiness mean
joy, not anarchy?

Can messiness be re-configured as coherence, as electricity?" - Wayne Koestenbaum in Amy Sillman - Works on Paper

"Like a living being, they also exist within and display the realities of being manipulated by that environment. Conceptually, the work layers and loops in on itself. The lines of drawing exist because of the fabrication of weaving—of lines of thread—and the dissolving edges of a cloth’s cut are in turn also a series of unraveling lines, their own coiling edges evoking the semblance of some forgotten script." 
-Megan Kelley in Becoming Themselves: we are not together yet comes together for Amelia Briggs in Nashville Arts Magazine