Reaching into the current social fabric of U.S. culture, the work investigates and excavates popular culture and places what is found on a stage for questioning and critique. The outcome results in questions that surround morality, vurtues, and human values through a presentation of the essence of our history and ruins. The work looks into subjects and materials from the real world and pulls them into light. Placing the viewer in a position of confrantation and accountability. The attempt and intention of these subversive works is to provoke conversation, thought, shock, and distress. Confronting viewers with challenging subject matter of which is loaded with reflection and questions. Acting as knives that cut through vales to reveal what may be hiding behind them. Begging for honesty, truth, and critical thought a dialog is created and as such may provoke within viewers a conscious or unconscious shift in perception. Opening the opportunity, through critical thought and provoked conversation, for a chance at a type of redemption and a chance to rebuild.
A Helping Hand (Sold)
When a Boy Likes a Girl (Available)
Madonna and Child (Available)
Water Fight (Sold)
School Supplies (Sold)
Hunting For Likes (Available)
Dirty Girl (Available)
Parental Guidance (Available)
Bomb Voyage (Available)
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
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.