“Well, the car… anything can happen in a car. In a larger sense, it’s a North-American coming-of-age symbol—and sort of tucked right into the trajectory of modern art. There’s this obsession across cinema with it too that aligns with real life somewhere. Bad guys chasing bad guys… violence… teenagers. You hit 16 and bam, you do whatever you can to get your hands on a puttering hunk of hand-me-down metal to just get you outta there! And suddenly the world opens up. It’s a room you can speed around in, where you can collect private conversations. Sneaky sex. It is safe until it’s not. You can stuff so much in a car. And with all that, it’s such a kind of perfect metaphorical and compositional armature for a picture.”
Danica Lundy
“The last body of work had loose ties to personal experiences—largely teenage ones—but no knots holding them there, if that makes sense. I’ve got this decade gap between my adolescent self and so much new content and refurbished memories to throw at that poor sucker. I puzzled over teen movie tropes until I was older—teen movies are not made by teens, but by adults looking back, right?”
Danica Lundy
“I think painting and sports could kind of be siblings. You’ve got the hand-eye coordination component in each, mental diligence, repetition of a physical task to build muscle memory. And all the while, your mistakes and shortcomings are laid bare in front of your teammates or peers—in the name of constructive criticism, or because your coach is a sadist and you are a masochist.”
Danica Lundy
