Golightly’s painterly style is heavy on brush work but her use of high gloss enamel on aluminum gives the paintings a smooth finish that nods to their photographic source material. The color palette is reduced and the forms are pared down to their essential shapes but the textures she is able to attain are elaborate and elegant. Golightly is using the absence of detail to allow her subjects to resonate on a universal level – it is as if the viewer is looking at memories buried deep in time that could be their own.
Memory is in constant motion: changing, evolving or disappearing. While Golightly’s work often contains a sense of stillness and quiet, the paintings exist on the edge of reality and acknowledge the elusiveness and subjectivity of human memory. Exploring the intersection of the original photograph and the personal histories of the viewer, these paintings ultimately speak to how unstable and easily altered photographs and memory are – both of which we so heavily rely on and yet are never as concrete as they might seem.






