Hi, this is Eileen. I currently live and work in Brooklyn. 
I stress buy lamps and carpet as emotional support. Furniture has become a conscious form of sublimation for my poorly managed life, and we’ll probably get along if you like staring at stuff in flea markets. Favourite film of all time Jurassic Park (1993), watched it more than ten times it’s hard to explain the obsession.

I spend a lot of time finding the right angle, like a framing device. A combination of logic and chance at work is perhaps best described as learned intuition, a right amount of distance that will hopefully become a point of entry. The continuous habit is inventing pictorial problems and finding solutions; a lot of the compositional influences come from cinema. The most crucial part of the process has to do with scale and frame ratio, they determine the spatial presence of the painting, very tricky. 

I've also been trying to structure the works around research themes. There’s an ongoing series about rules and games loosely based on Freud’s account of observing his grandson inventing a game with which the child repeatedly amused himself to rehearse the mother’s absence.

Material culture, 16-17th century global trade, flemish paintings, cinema, deception, inertia, and observations.

The primary medium is oil painting, it's a turbulent relationship, and I sometimes switch to printing and sculpture to find a fresh start. Image making has a flattening effect, a way of translation predetermined to fail, yet it is a positive failure that produces a short circuit, perseveres reality as an illusion, and exploits failed potentials still preserved in objects. I guess it’s a simulacrum after all, a surface which offers nothing except its own mediated existence. The medium itself is paradoxical and anachronistic, frustrating and enchanting, I was told once that painting is the supreme form of fiction, such a lovely thought.

It’s a constant push and pull. Sometimes constraints form the work as much as narrative or style or a broader thematic intention or investigation. This isn’t always a bad thing, I think some of the work I’m most proud of has come out of a struggle with constraints like time, money, my own craftsmanship, a desire to not produce work that “shows off” or is technique forward or whatever, the idea of “taking the easy way out” and repeating a stupid “why would you do it that way” gesture over and over again until it sort of turns into something else.

Figuring out my plant watering schedule under low humidity.

Composting.

Chekhov.

Domestic routines.

Should I finally get my own copy of The Wine Bible?

Find the best sourdough in my neighborhood.

Currently in a state of organized chaos. Trying to unlearn the last four years of undergrad and communicate better.

My studio rocking chair. 

Reorganize my studio and finish some paintings.
Go on vacation, sit somewhere and day drink.

Scrambled or soft boiled on toast.