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.
"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."
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