On a formal level, these works are a product of my fascination with the way the viewer attempts to perceive rational, three-dimensional spaces in two-dimensional objects.
More informally, they are a study of how humans endeavor to make sense of the world around them, and how they are willing to blend incongruous elements in order to do so.
I chose to work with magazine images because they are already representations of fictive, cultural realities. I warped the images by orienting them primarily on the basis of their infrastructural composition (primarily shape), instead of their subject matter. The addition of the acrylic paint balances the machine-made quality of the images, and initially blurs the handmade and the prefabricated; however, the paint strays outside of defined edges to draw attention to the pictures’ two-dimensionality.
The addition of the acrylic paint balances the machine-made quality of the images, and initially blurs the handmade and the prefabricated; however, the paint strays outside of defined edges to draw attention to the pictures’ two-dimensionality.
The subject matter of the works is not random, but it is created out of the relationship between formal elements, which offers fluid, strange images.
Ultimately, the viewer is presented with surreal compositions that are just close enough to something “real” that he or she must stop and examine the inconsistencies before concluding that what is being seen are not logical worlds. They are simply paper and paint.
