Home Truths comprised three groups of charcoal and pastel drawings. My daughter was a few months old and I had just returned to the studio. I worked from a series of photographs I had been taking of my children. The drawings happened very quickly and were process rather than idea driven. A few years later, reading photographer Sally Mann’s poignant introduction to her Immediate Family book, I understood them a little better.

She writes: “There’s the paradox: we see the beauty and we see the dark side of things; the cornfields and the full sails, but the ashes as well. The Japanese have a word for this dual perception: mono no aware. It means something like beauty tinged with sadness. How is it that we must hold what we love tight to us, against our very bones, knowing we must also, when the time comes, let it go?”