aspects of the human condition through common objects and art practices I
present a complex conjunction of personal experiences and references to art
history. The work
is infused with narratives and metaphors that investigate sociological issues
of gender, class, Art, and their correlation. My work exemplifies concepts and
relationships that suggest power struggles, polar opposites, contradictions and
the point at which they collide to create self-dismantling occurrences. Barriers between social
class and bracketed mediums in Art academia are blurred. Rigid sculpture is
morphed with fluid paint, becoming an active collision to create a
contradicting yet complimentary occurrence for both Painting and Sculptural
By isolating an object, it becomes versatile, holding prominence and monumentality. The result of isolation is true of forms existing in any dimension. Each object holds a unique value through its selection alone. The object chosen is either used metaphorically as the subject of a painting or physically as the ‘not so blank’ canvas. If the latter occurs, thus begins an extensive layering process that can include an array of application techniques. Dipping, dripping, pouring, and brushing are employed to either create the illusion of physical form or to literally amass form in the third dimension. Regardless of the dimension, 2D or 3D, an ongoing exploration of paint’s plasticity is ever present in my studio practice.
The objects are contingent to the setting and dependent on their treatment that determines their function or impotent lack thereof. The display exploits formal opposites such as rigid versus flaccid, playful versus violent, phallic versus feminine. The severity of the object is challenged becoming buoyant, playful, poetic, sexual and often pathetic in their new context. The forms are morphed to attain a familiar strangeness, the confection-like candy colors and sexually charged phallic forms are both pleasing and discomforting to the viewer. I reference formal properties of both Painting and Sculpture, opening up a self-referential dialogue between the two practices.
Ultimately the work embodies the physical and psychological formation and transformation of character that is dependent upon surrounding conditions, manipulations and experiences. Our experiences and the objects that we surround ourselves with affect our character just as color and paint are used in the manipulation and transformation of an object’s character. Through the process, material, and context, the object’s intended form and function are transformed and transcended into a higher accountability.