Informing Memory Statement on Witness Marks: Anatomy of a Memory

Witness Marks: Anatomy of a Memory, created by Kate Gridley ‘74, is an unfinished composition which currently consists of a collection of 47 painted poplar panels. They resemble different objects which are meant to, as the title of the opus suggests, navigate through the anatomy of a memory. The medium used to portray this navigation is oil on linen, gessoed with a chalk ground. The way the paintings are organized and their spatial relationship and connection to one another adds a deeper dimension to the viewer’s interpretation of the art work as a whole. There is also an auditory element involved, with a vivid recording of the various sound effects the objects make while being used, playing in the background. 

While observing the numerous art works throughout the gallery exhibit, Witness Marks: Anatomy of a Memory definitely stood out and caught my eye. First and foremost, this piece was quite sizable compared to its neighbors, considering all of its 47 constituent depictions. I was drawn to the arrangement of the composition. Even though each of the panels was some form of a rectangle, the disposition itself was out-of-the-box and almost looked random at a first glance. The blank images were positioned on the top left and bottom right, with more abstract designs slowly fading into realism as my eyes raced to the center. While noticing the piece from afar, I originally thought that the portrayals of the entities weren’t actually paintings at all, but rather photographs, or for some of them even the physical body inside a box. However, as I approached closer, I started noticing the brush strokes, and developed an appreciation for the artistry into making every object so realistic. The sound track and warm aesthetic of the composition kept me engaged once I had been reeled in.

In the caption accompanying the work, Kate Gridley mentioned that it was inspired by her father’s battle with Alzheimer’s, and throughout the process she became intrigued into how she could map out a memory through a medium of art. She stated, “As I watched my dad’s mind fade–and how he struggled to capture memories– I began to wonder if there might be a way to create a visual experience about how memory might work… That was the genesis of Witness Marks: Anatomy of a Memory.” I envisioned the organization of the paintings to represent one singular chain of thoughts or evocations, fading in at the edges, becoming lucid in the center, and proceeding to fade out. 

Personally, this representation summoned a chain of two distinct memories from my childhood: from the classroom and from my exploration of nature. The paper fortune teller and Crayola crayons brought me back to 4th grade, when I would sit down in the after-care with my friends and fashion numerous arts and crafts, worrying about who had the “cooties” and who didn’t. Going back even earlier to my kindergarten days, the bird eggs, whitethroated sparrow, and pinecone elicited the memory of summertime and nature. I clearly remembered exploring the forests around my house with my best friend, who also happened to be my nextdoor neighbor, through a friendly game of tag. As I pondered over these childhood experiences, shivers of nostalgia and satisfaction surfaced my skin before I abruptly snapped back into reality. 

I love how this exposition evokes different reminiscences from viewer to viewer. Another viewer may look at the piece from the same angle and at the same point in time, but it will induce a different memory and reaction, depending on the viewer’s past experiences and circumstances. The unique, discreteness of an abstract evaluation by a viewer drawn from this configuration rounds off its conceptual beauty.