For a seventy year old retired school teacher who lives off a pension and whose only side hustle is that of an architecture subcommittee on the board of an HOA, there is no space more sacred than the 5’ x 10’ foot area of meticulously groomed Kentucky bluegrass that exists directly in front of their overpriced condo. It is their own and wholly owned plot of universe and to change it as they see fit, either with lawn flamingos or prized rhododendrons, is the greatest power to be held in the world.
The amount something is allowed to be customized to one’s whims is a reflection of one’s power within a certain space. Painting a room in a rented apartment or ripping up tattered carpet to reveal a darling and original hardwood floor is a perfect example of this. To do so without approval is another. Rules, regulations, laws, and decorms will make full throated demands of behaviors and attempt to tame the spirit of a space.
Public spaces do not consistently adhere to such expectations for there is an intense fight between all sorts of powers that wrestle over those spaces and the spirits held within.
The pieces in this exhibit are photographs that take the subject matter of the never ending feng shui tug-of-war that occurs within generally public spaces and prints them across various objects that are to be found in the most private and customizable of locations; one’s home. Signs, bulletin boards, doodles, and graffiti, are all appropriated, or perhaps commandeered, in a way that lassos the uncontrollable nature of the outside world and places it squarely back into the hands of one person who has no notable or even discernible power. Once ripped from their original context and presented over a new medium (curtains, welcome mats, rugs, and towels) these images can be injected with rich humor and deep contemplation.
The ease of such on-demand mass manufacturing, though, can be a concerning temptation. An individual may reign over their designated plot, but it may merely be an illusion to distract from the fact that their impact on the world around them is lessened more and more. The acreage of their domain slowly creeps inward, as they further rely on online user interfaces to produce their contentment. That is the content shipped from an ever growing conveyor belt of customized peace of mind.
Failed Perfection is a collection of work depicting the deep seeded disappointment of crumbling institutions both physical and spiritual. Through a series of altered found objects and repurposed symbols and rituals it captures a snapshot of the Fall as it tumbles frozen in the moment when that realization of failure occurs. Hell comes in many forms, but for the artist it is that in which one is stuck reliving their inadequacy over and over. But, as they say, it is not the rest of the story, as the pieces are presented through the delightful objects of which only can be described as Kitsch. Sure, beauty is only skin deep, and ugly is through and through, but kitsch is forever, the beautiful combination of the two.
Prone Anxiety is a collection of works derived from my evolving anxiety, which has afflicted me in the last few years. The work itself is an attempt to overcome fears born from that anxiety, or, at the very least, come to a clearer understanding of them. In this body of work, I become a maniac insider of the psychological transformation of American middle class in the era of social media.
Undisclosed Visions and Preteen Rituals is a collection of photographic/video installations and found object sculptures. The work includes upside-down Christmas trees, distorted yearbook photos, and Childcraft encyclopedias whose purpose is to recapture the unabashed wonder and confidence of pre adolescent expression.
The loss of ignorance and ultimately innocence, whether it be through academics or life experiences, can strip away the veneer of childhood leaving self doubt and an overcritical nature. Also lost is a way of seeing that is unfortunately derided by adults as immature and foolish. Grown individuals may blush at the mere accusation of being called childish, and as a result reject the opportunity to express themselves in any artistic form whatsoever. To draw a stick figure is unrefined. To hum a nonsensical tune is simply beyond the pale. It is no surprise why anyone would refuse the title of artist. The word is steeped in grown up expectation.
This exhibition was created as a way to reconnect with and contemplate on that pre educational aesthetic; one heavily influenced by childhood rituals and imaginative play. This is a type of expression that is in many cases not intended for an audience beyond oneself. It is free of self censorship and full of inner exploration.
It is true, though, that one cannot go home again, and these pieces are made from the perspective of an adult looking back, not necessarily with nostalgia, but a sense of sincere appreciation.
I attempt to inject a bit of humor into all my work. It may at times be dark, but it is always playful and always comes from a deep place of sincerity. “Better-Than-You” is a series of employee-of-the-month photographs mounted onto plaques and displayed in a grid-like fashion. Each employee is labeled with the title “Better-Than-You of the Month” declaring their momentary superiority to the rest of the workforce. To be employee of the month is to be regarded as the best a company has to offer, but it is a short-lived honor, a rotating throne of arbitrarily assigned privilege. And what effect does this ultimately have on the employee themselves? A blip of above average mediocrity doesn’t change lives or personalities. Misery is seen through the reward. What good is an accomplishment if you have no reason to celebrate in it?
How exactly does one respond when asked “How are you?” Traditionally, it's quickly followed by “Fine.” The pieces in this exhibition featured unfiltered musings from the artist in an attempt to qualify “fine.” Theses semi-autobiographical installations are heavily influenced by various forms of social media, including Facebook updates, YouTube vlogs, Reddit posts, and Instagram images — platforms that celebrate amateur work of a viral, but often shallow, nature. While it is generally difficult to pry information of a private nature from individuals, the Internet is a space where an endless number of anonymous users will offer unsolicited graphic thoughts and opinions at the drop of a hat. Whether or not they are meaningful, they are certainly impactful.
I have an enduring love and appreciation for travel, an invigorating moment to drown yourself in the exploration of the unfamiliar. The car has been used by several artists as a means of exploration. I have never been able to afford adventures to far off lands and exotic locations, and the price of gas has often limited my roadside travel to mundane transits back and forth between home, work, and school. The approach in this work is to explore the common places, or what has become common through repetitive, endless transits. I wish to create images that breathe life and humor into subject matter that is often forgotten, often because it's seen at the speed of 60 miles per hour.
You can see other examples of my photography on my INSTAGRAM account
in collaboration with Heyd Fontenot
My work has been heavily influenced by the use of animated GIFs. This digital file type allows for simple and looping animations to be seen online through limited color schemes. There is something quite mesmerizing and hypnotic about animated GIFs. When used a particular way, they create an environment of endless repetitive motion and, when looped seamlessly, give viewers a strong sense of anticipation. A truly powerful animated GIF is waiting for a shoe to drop that never does. This work represents flowing motion of sights always seen, but rarely fully appreciated.
