"Largely evacuated of personal gesture, particular details admit moments of intimacy and observation from the artist's daily life, her son seated at the threshold of a glass door, her wife's bare feet standing at the top of the staircase, a neighborhood cat napping on a skylight. For Wright, 'the middle' names the domestic threshold, the "literal thickness where interior and exterior find common ground. At the edge of buildings, intimacy and exposure meet to form a zone of transition.""
"The compositions begin on the floor as pink-pencil drawings and progress through a multilayered spray process, finished with delicate brushwork detailing. Isometric projection organizes the compositions, distinct not only for its diagrammatic accuracy, but also for its conceptual implications of non-hierarchical order. There are no vanishing points, no figures elevated above the painting's ground. Wright articulates headers, sills, reveals, and seams with tectonic clarity."
Mapping the Middle presents near one-to-one scale paintings that examine domestic architecture through structure, surface, and perception. Each canvas is developed iteratively using the logic of architectural drafting, beginning as pink-pencil drawings on the floor and progressing through multilayered spray and delicate brushwork. Isometric projection structures compositions to imply non-hierarchical order with no vanishing points or elevated figures. Paintings largely omit personal gesture while including intimate quotidian details—a child at a glass threshold, bare feet atop a staircase, a cat on a skylight. The works inhabit liminal thresholds between interior and exterior, recasting indoor-outdoor California life as questions of solitude, sightlines, and nature.
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