Point-and-Shoot

Painting installation
Learn The Birds Identification Flash Cards
Learn The Birds Identification Flash Cards

15" x 12"

Plymouth Barracuda Mercedes Running French Fry Oil
Plymouth Barracuda Mercedes Running French Fry Oil

10” x 10”

Drunken Sailor In Popsicle Stains And Pooh Bear Overalls
Drunken Sailor In Popsicle Stains And Pooh Bear Overalls

8" x 10"

Hurricane Swimming Pool Baths And Rejoicing Over A Bag Of Ice
Hurricane Swimming Pool Baths And Rejoicing Over A Bag Of Ice

8" x 11"

Snake Ate the Pie Tiptoe to Make Sure its Still There
Snake Ate the Pie Tiptoe to Make Sure it's Still There

11" x 16"

Chocolate Milk Cup Caterpillars
Chocolate Milk Cup Caterpillars

8" x 11"

Sand Box Hermit Crab Gulf Shore Funeral
Sand Box Hermit Crab Gulf Shore Funeral

11" x 16"

Nick And Alex Killed The Cottonmouth With The Net And My Rubber Boots
Nick And Alex Killed The Cottonmouth With The Net And My Rubber Boots

15" x 12"

Plastic Hand In Fire Dad Says To Jump In The Pool
Plastic Hand In Fire Dad Says To Jump In The Pool

10" x 10"

Point-and-Shoot (installation view)
Point-and-Shoot (installation view 2)
Point-and-Shoot (installation view 3)
Point-and-Shoot (installation view 4)
Rachel Duffy

Rachel Duffy


A few years ago, I discovered a box of childhood photos in my mother’s home and didn't recognize myself in them. I became interested in exploring how remembered moments change over time. A photograph captures a moment and holds it still, but memory shifts, morphs, changes, blurs, or becomes more vivid over time. A photo helps us to recall forgotten memories, but often it does not reveal the same reality that we remember. In a single image, there can be moments of clarity and moments of ambiguity. The process of layering and withholding paint allows me to explore the way I experience these images. Bright primary colors evoke the feeling of childhood: shiny candy wrappers, plastic toys, checkered dresses hanging on a clothesline. Layers of hazy memories reveal themselves through the layers of paint. The faces are foggy, in a dreamlike state. How do I discern what is real and what is not? If it is my face looking back at me, why can’t I recognize it?

And yet it is not enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves - only then can it happen that in some very rare hour the first word of a poem arises from their midst and goes forth from them. - Rainer Maria Rilke

Personal Web Site of Rachel Duffy