Artsy: How does your method of collecting these objects relate to your creative process?
RL: Walking is a very personal, meditative and, contemplative practice for me. Every step of my creative process is influenced by the virtues of the inherent slow, deliberate pace of walking and the unique opportunity it affords for one to observe and reflect.
I think that the receptive spirit that observation and collecting fosters has shaped my sensibility both visually and conceptually when it comes to notions of painting, mark making, and an artist’s approach to such engagement. While my work continues to explore the realm of painting without tactile trace of the artist’s hand, touch is paramount. Hundreds of unnamed people touched the matchbooks, used them, consumed them, and discarded them, a collaboration of many persons unwittingly moving the items forward, in this case, towards art. On the surface, their touch, like mine, remains invisible and therein lies a tantalizing paradox—overwhelming evidence of human activity and individual anonymity.