KEEP FAMILIES TOGETHER: Coloring Project This work represents the 2551children separated from their families after illegally crossing the border into the United States. The imagery is drawn and screen printed in thick contour lines reminiscent of a coloring book. The repeated image of the children linked in arms creates a secondary pattern of childlike houses across the 28 feet of the banner and the additional 60 feet (and counting) which are migrating cross county. I invite viewers to participate in the coloring of the banner to raise awareness and compassion for those cruelly separated from their families. If you are interested in hosting a coloring event in your city please email: firstname.lastname@example.org.
Artist Statement 2014-2018
Time ,Space, Transcendence series explores meditation and sensory awareness. My works are intended to seduce the viewer visually with formal elements of color and deign, inducing inward reflection, meditation and social dialog. I weave narrative and iconography into the work through repetitious figure, landscape and geometric imagery. The figures have symbolic, political and spiritual relationships. The light and color have symbolic mood altering effects. The patterns invoke peace and harmony and embody the principles/patterns of the universe. I am interested in how light and video projection function to enhance color, alter mood and enable deeper sensory awareness.
The Messages From the Other Side utilizes representational triggers to generate conversations about important issues such as Native American history, immigration rights and the #MeToo movement. These images were salvaged from vintage National Media and repetitiously drawn, distorted digitally and screen printed into monotype prints. The distortions and glitches create bars and static which represent the loss of information in News Media. I am interested in the psychological narrative aspects of questioning and understanding imagery and how it can trigger personal and cultural ideological stereotypes or pop culture references. *
The Women/ Mother of Earth/ the Goddess/ 1950’s Pin Up/ Feminist The Man on Horse/the God/ the Universe/ Commander/ Immigrant The Goat/ the Fruit of Life/ the Sacrifice The Children/ the Future / Migration/Babes in the Woods** Owl/ Predator/ Nature Rabbit/ Prey/ Nature Landscape of bees, paddling ducks, poppy flowers, stars/ Euphoria/ Transcendence Metatron's Cube/ Interconnected Universe Fruit of Life Symbol/ Sacrifice Chevrons/ Time waves/ Transcendence *Icons are intended to trigger ideological assumptions based on cultural stereotypes or political zeitgeist. Icons will be interpreted differently by different people. Awareness of these trends can allow deeper self awareness and transcendence. **references historical “Babes in the Woods Ballard/ Nursery Rhyme” and history of political hidden narratives within Old Wives Tales
These works are intended to be seen as a whole and in a large space so the viewer can slowly and mindfully digest their meaning. I am interested in how light and reflection function to enhance color, alter mood and enable deeper sensory awareness.
Thesis Research 2007-2009
Pit bulls, junkyards, abandoned lots and vacant homes are some of the reoccurring images in my painting, videos and installation, which I consider semiotics of urbanism. I want my art to tell a story. The story, much like the old maids story has a moral, which runs through and is also full of morbidity, psychology and perversion. Some of my recent inspirations are early Sesame Street, Mr. Rogers Neighborhood, and the Grimm Brothers collected fairy tales. The imagery in my work become symbols of lost utopias, just as the morals of Mr. Rogers or the politics of early Sesame Street are now lost, waiting to be rediscovered. The landscape is constructed from paper, cardboard, wood and paint. Individual episodes are a combination of coherent narrative and moments of illogical happenings, loosely based in the format of children’s television. The final product is a combination of stop animation drawings, puppetry, and performance with painterly and sculptural aspects. Many of the objects I make appear in my videos as props. I am interested in the relationship between the sculpture, paintings and video; how the sound from a video affects the paintings, how the painting provides a backdrop for a sculpture or what happens when a video is projected directly onto an object or hidden within an installation.