Statement/Philosophy
What “turns you on”?
… And what exists in the space between on and off?
When images dissolve to static noise, we are left with the space between the embodied and the metaphysical- a state of physical and technological ecstasy.
We idealize the re-presentation of life. Moments of perfection are compared to scenes from the cinematic. The ratio of a screen size can stretch banality to bliss.
I aim to expose and appropriate these visual devices: to understand why re-presentations of life act as truer reflections of self than the present moment.
The space between is the spectrum of intimacy. The everyday to the orgasm.
I believe that the present age is constantly desensitizing our ability to have meaningful human interaction. Through my research and artistic practice I strive to create entry points into what it means to have human intimacy, and how this empowers our sense of self, identity, and authenticity in a world full of simulated experience.
The idea of ecstasy infiltrates my work both physically and intellectually as a signifier for feminine freedom. Ecstasy is the theme that connects the seemingly disparate entities of the physical body, the spiritual self, and the intangibility of technology beyond human perception. Using mechanisms of the cinematic, and the white noise of recently outdated technology, I am interested in employing visual devices rooted in memory and the subconscious to provide a new way of seeing. Continuing to investigate the use of the screen as a means of destabilizing the gaze: The television screen, the format of the high-definition wide screen, and the physical window screen are just a few examples of filters that have become a normative part of our contemporary worldview.
As a visual artist I am interested in communicating the sublime that exists in the everyday, and in doing so, creating work that exposes both personal and universal truth. My work has been described as “a transfiguration of the earnest with the banal”, and it is the need to expose quotidian beauty that I label my art as a work of existentialism. It is through this recognition of existential and phenomenological importance that I justify the various physical and material choices within my work. I have always been committed to the hand within my artistic practice and my use of oil paint, ceramic, and found objects employ varied media but all are rooted in the physical world, where touch, texture, and physical association play key roles in the artistic experience. This is truly where I find the essence of being human, in the tactility and presence of a physical work of art.
… And what exists in the space between on and off?
When images dissolve to static noise, we are left with the space between the embodied and the metaphysical- a state of physical and technological ecstasy.
We idealize the re-presentation of life. Moments of perfection are compared to scenes from the cinematic. The ratio of a screen size can stretch banality to bliss.
I aim to expose and appropriate these visual devices: to understand why re-presentations of life act as truer reflections of self than the present moment.
The space between is the spectrum of intimacy. The everyday to the orgasm.
I believe that the present age is constantly desensitizing our ability to have meaningful human interaction. Through my research and artistic practice I strive to create entry points into what it means to have human intimacy, and how this empowers our sense of self, identity, and authenticity in a world full of simulated experience.
The idea of ecstasy infiltrates my work both physically and intellectually as a signifier for feminine freedom. Ecstasy is the theme that connects the seemingly disparate entities of the physical body, the spiritual self, and the intangibility of technology beyond human perception. Using mechanisms of the cinematic, and the white noise of recently outdated technology, I am interested in employing visual devices rooted in memory and the subconscious to provide a new way of seeing. Continuing to investigate the use of the screen as a means of destabilizing the gaze: The television screen, the format of the high-definition wide screen, and the physical window screen are just a few examples of filters that have become a normative part of our contemporary worldview.
As a visual artist I am interested in communicating the sublime that exists in the everyday, and in doing so, creating work that exposes both personal and universal truth. My work has been described as “a transfiguration of the earnest with the banal”, and it is the need to expose quotidian beauty that I label my art as a work of existentialism. It is through this recognition of existential and phenomenological importance that I justify the various physical and material choices within my work. I have always been committed to the hand within my artistic practice and my use of oil paint, ceramic, and found objects employ varied media but all are rooted in the physical world, where touch, texture, and physical association play key roles in the artistic experience. This is truly where I find the essence of being human, in the tactility and presence of a physical work of art.