ideas. thoughts. brainstorms. schemes. studio scraps. little lightening bolts. works in progress.
"CHRUMP 2020" digital renderings - hoping to realize these into a hand cut paper form, wall-bound, and installed in a gallery space in February 2021.
Digital sketch of installation, each one to be backlit by fluorescent "MAGA" red:
Some glimmers of new work in the making and on exhibit this December...
WILL DRAW YOUR ZOOM MEETING FOR FOOD
Illustration/Comics Department Meeting - May 1st, 2020
Latest evolution in recent work involves figuring out how to "break" paper. Playing with shatter patterns, ways to fragment, and continuing to use my little slice of the sky as a light box.
Times are really weird friends...keep making. <3
Test pieces for a new body of work I will be exhibiting in September 2020. Playing with light, entrances and exits, surface manipulation, and condensation as a means to convey exact moments of grief both instantaneously pierced and strenuously revisited.
Sifting through old images (left, fall 2018) and new images (right, last night - 1/24/2020) I still think about the next iteration of junk dazzle silhouettes - the body interacting with material/more abstraction of the body itself vs. letting the body totally be as is - no forced positioning or trying to appear a certain calibrated and calculated way (i.e. "hot"). Even still, there are familiar positions I automatically fall back to in both of these shots - a body language inherently ingrained. Culling through research, I find a summary of women and the incessant photographing of themselves for the internet in Peggy Orenstein's "Girls and Sex" (2016) familiarly stinging - "a commercialized, one-dimensional, infinitely replicated, and, frankly, unimaginative vision of sexiness...set to perform rather than to feel sensuality." Had I performed the acts of mania and depression rather than felt them? Can you make someone "feel" your body, by how you present your body?
Early on in the summer of 2018, still in the haze of postgraduate purgatory, I wondered what it would be like to know the arrangement/pairing/partner/interaction I wanted beforehand, and execute it during the initial photographing process. Before, hundreds of images were shot, arranged, printed, extracted, and paired together in any way I saw fit - like a puzzle where the pieces were never tethered to a greater whole. The shots below in my then apartment demonstrate my new attempt:
...followed up with some pleasingly crude digital collaging...
...resulting in an equally crude drawing on tracing paper I quite like.
Lately, and ironically enough, I've thought that me / my body / my face/ anything directly and obviously mememememe should take a backseat visually in newer work, at least for a little while. I don't know exactly why; perhaps fatigue or feeling it's all too repetitive. Regardless of reason, the uncertainty and inner struggle will ultimately feed the work itself - it always does.
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