The body of work, Diminished and Devoid is an investigation of which comments on and critiques socio political topics found within contemporary U.S. culture. The attempt and intention of these subversive works is to provoke conversation, thought, and shock. Confronting viewers with challenging subject matter of which is loaded with reflection, accountability, and questions these works act as tools that cut through vales and reveal what may be hiding behind them. Begging for honesty, truth, and critical thought the work creates a dialog and as such may provoke within its viewers a conscious or unconscious shift in perception. If even one critical question can be acknowledged through the image by its viewer then the image has served within the spectrum of its utility, and as such, has served within the utility of art.
Madonna and Child
Modes of Survival
When a Boy Likes a Girl
The body of work attempts to comment on consumer culture and the power, effects, and results of the mass marketing of large corporate symbols. Though abstracted to a point of absurdity, it appears that these iconic symbols retain their legitimacy, representational qualities, and the ability to be recognized instantaneously. What interests me is, through mass exposure, how deeply embedded within consumer culture these companies have become. Have these symbols become as or more recognizable than that of religious symbols? Have these corporations marketed themselves so well and so extensively that they have embedded themselves even within the subconscious of the consumer culture?
Extensions of my Diminished and Devoid Series
Censored For Your Convenience Series (Displays the Human Body)
The works comment on the notion of censorship. The positioning of the censorship symbol is not only a statement regarding censorship but also a comment on the cultural appropriation of censorship. The works attempt to challenge "the male gaze", to challenge the context in which the nude composition is consumed (thus changing the meanings derived through context), and to challenge historical representations and connotations associated with the nude composition. In the photographic space, the viewer will notice the backdrop is bare, the figures are bare, and the lighting itself appears to be somewhat flat. This web of interconnection relates back to the figures. The ultimate goal is to display these figures as not symbols or objects of sexuality or sensuality, but rather as proud symbols of self-liberation from these pretenses. Thus suggesting, that the figures are perceived this way because they choose to be projected and perceived this way. Not because the viewer chooses to perceive them this way.
Toes Censored For Your Convenience
Dropping Censorship For Your Convenience
Holding Censorship For Your Convenience
Elbow Censored For Your Convenience
Leaning On Censored For Your Convenience
Knees Censored For Your Convenience
Eyes Censored For Your Convenience
Lips Censored For Your Convenience
Hands Censored For Your Convenience
Obstruction of Form Series
The body of work displays subject matter that attempts to challenge objectivity and subjectivity as well as challenge perceptions and constructs of visual form. It displays a mixture of abstract geometric forms and textured paint strokes that are free from any specific subject matter. The works use scale, repeated shapes, and minimal color to create hierarchies, visual weight, and multiple asymmetric connections. Each piece explores the gap or “in-between” of Minimalism and Abstract Expressionism. I am curious about how the overly simplistic geometric forms and expressional accents exist in the same visual plain and how the viewer deals with these obstructions. The work strives to both follow and push the ideals of Minimalism through concept and form. I find it interesting that the almost purely objective subject matter becomes completely subjective when experienced by the viewer without the aid of any specific form and only a single color. The works are Mixed Media. The mediums are applied to layered acrylic sheets. This creates an almost three-dimensional experience through overlapping shapes and casted shadows within a two-dimensional format which attempts to invite the viewer to visually explore the space. The work is ever changing depending on the lighting. The marks made cast shadows, another form appearing in parallel existence to the physical ink and paint, simply made-up of light and shadow.
Works on Display
"Square on the Verge of Falling"
48" X 32" Mixed Media on Plexiglas
44" X 32" Mixed Media on Plexiglas
Mixed Media on Plexiglas
Anomaly (in red)
Abstracted Circle (in blue)
Abstracted Rectangle (in green)
Each Their Own Series
The body of monotype prints attempt to comment on the notions of repetition, the consistently inconsistent, and the concept of chance and randomness. By reducing down to a single tool and a single action, then to repeat this single action, the work begins to visually display repetition, chance, and individuality. How does repetition affect chance and how does chance affect repetition? These marks are their own anomalies. They are as unique and inconsistent as finger prints, snowflakes, tree rings, and people as individuals. No matter how may times these marks are repeated, no two can ever be exactly the same. This is what I am infatuated with. The ability to capture these unique, seemingly random, and never again replicated marks and compositions made via tools used within the printmaking process and to capture these marks and compositions on the off chance that they appear as they are.
The Other Series
This body of work attempts to display interactions with the two-dimensional as if the two-dimensional is interactive and at times, conscious. What I am interested in, is what happens when these beings and spaces that exist as photographs, shadows, reflections, etc. are acknowledged. This body of work attempts to explore this concept and create interactions that may or may not be possible in our three-dimensional world.
Living Parallel Form
The Tension Between
The Gift of Color
Obstruction of Natural Form Series
The body of work attempts to challenge and explore the concept of objectivity and subjectivity. I am curious about what makes a visual form subjective. Is it within the physical forms themselves? The color itself? Or some place where the two meet in the middle that drives subjectivity. The works use sporadically placed color, natural forms, and negative space within a minimalistic format to create hierarchies and multiple visual focal points within each composition. The works are Mixed Media on water color paper. The high contrast of the black ink on light toned paper allows for visually clean lines and easer read details, while the expressional ascents provide a rich tonal range and furthers the subjectivity of each composition.