Packer’s figurative paintings feature a powerful quietude. Each canvas reads as a self-contained world, its subject emerging from or dissolving into its surroundings. She presents those who sit for her—usually family members and friends— with compassion, foregrounding their individual autonomy and carefully guarding their integrity. The artist is one of a number of emerging contemporary painters engaged with questions of representing the black subject; she considers her work to be part of a larger conversation about making these figures visible.
Funerary bouquets are the subject for another ongoing series of paintings that suggest themes of trauma and loss. Packer’s floral arrangements recall those of classical still life painters like Henri Fantin-Latour, yet, like her other works, they primarily produce a psychological space. Perhaps innocuous, even beautiful, on initial view, each suggests a private sorrow that reverberates beyond the fleeting moment of the flowers’ public display.
Packer renders fragments of her paintings in detail while she obscures information in other areas through more abstract mark-making or even leaving the surface blank. The artist paints each canvas over a long duration, returning again and again to rework the surface, “undoing” the image, as she says, until a balance is struck. A narrow palette in each work—chartreuse, mauve, ochre, for example—demands close attention to shifts in hue and tone and often results in subject and environment seeming to collapse into one another.