Valerie Anne Molnar
I engage though Post Painterly Abstractionist era via my love for Clement Greenberg’s romantically diehard calculations. Nostalgic for certain modernist principles (or the type of conviction to the principals carried out by that era’s heroes), I draw upon their formalistic values for my images. On top, I interject a friendly sense of play, or a different type of nostalgia along the same lines of sincerity, with the connotations of knitting and textures of my process and materials. My work honestly deceives, being one thing while sneakily being equally something else, object then image, sincere then ironic, underdog then champion, masculine then feminine, fluctuating back and forth with the relativity to the viewer’s physical proximity as well as previous experiences.
The optimist in me knits for the causes of sincerity, happiness, goodness, and earnestness, while my formalist counterpart works hard and straight faced with conviction to sell my thoughts. I make these objects as a practice and a confirmation of my hopefulness while I make these images to communicate and persuade as a serious contender.