I first met Amanda and Charlie when we were all
working together at Oona's, a vintage store in
Cambridge, Massachusetts, and I liked them
immediately—they were warm and fascinating
people, talented artists, and I admired their
relationship. At that time, I was attending the
School of the Museum of Fine Arts in Boston,
making short experimental films that dealt with
ideas of identity, memory, distance, and
displacement; ideas that I had previously explored
in my two-dimensional art.
In 2004, I moved to Los Angeles to pursue my
Masters at CalArts, where these ideas continued
to shape my work. My first film at CalArts,
The Tropic of Faxafloi, deals literally with
ideas of home and displacement. Eventually,
I realized that themes of place and alienation
were also thematically inherent to the film I
was making as my Masters thesis--Parity.
When I had the idea to make a movie about
a pregnant woman, a comment of Amanda's kept
reverberating in my mind—when life was particularly
dissatisfying she would say to Charlie, "let's
just have a baby, and I'll paint watercolors."
Aside from watercolors figuring literally in the
movie, this idea became the theme of Parity;
in other words, what does an artist do when
she can't make art anymore?