from KateLynn Dunn curator
Howard Skrill makes drawings and paintings that have followed the narrative of public monuments and their global eradication, bringing into visibility the haunting aspects of public memory over time. As the stage and context for the monuments shifts from the past, the collective contingency questions the racist and imperialist logic of statues constructed and put on view by the oppressive ruling class. Skrill's drawings and paintings depict a disruption in time and identity. Through the presence and absence of the monuments, public memory is inalienable to the private memory that laid dormant before it.
