Working in painting or digital media, depending on the project, I work non-representationally through abstraction. At the intersection of intimate and shared experiences, the artistic process involves research, such as historically, then responding materially—a practice that frees me to clarify information subjectively. Even when linked to a broader context, I am tied to the subject. Sometimes I even recycle items like my grandmother’s wallpaper into the art. Imitating life, I make both intentional and unplanned marks, such as pouring, brushing, removing, or blowing, manifesting what we do or do not control.
Light, framing, or gesture recur throughout my work. Building on the lineage of some ab-ex artists, by subsuming their style or technique, I am intentionally anachronistic, concerning myself with how that period intersected with the world, including my family history. I differentiate myself only by illuminating my personal, social, and cultural experiences. My body of work; including subject, process, gesture, historical ruminations, storytelling through abstraction – including researching transitional justice – drive at narrative through metaphor. Paint and mark demonstrate the physicality of interpretation. The point of the abstraction is to avoid the didactic nature of narration through a re-imagination of experience. Look close; it is all there.
—Wren, updated 2021