“It came to me suddenly, as if it had been staring at me longingly waiting to be discovered, that the accumulation of my nightmares had become more transformative than the sum of my dreams. The curiosity and questions they channeled became the most influential tool to finding a vast interior cosmology that traces identity through expanses of time and asks the contemporary to match symbols for a waking soul to remember.”
—Mallory Page
In Much to A Nightmare’s Delight, Mallory Page extends her inquiry into painting as an atmospheric and psychological register. Working with thin, layered washes of acrylic, she constructs surfaces that do not depict but rather emanate—spaces where sensation accumulates, flickers, and recedes. Her term “the shell of an atmosphere” captures this approach: a membrane of mood and memory suspended between presence and dissolution.
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Mallory Page