my work has recently transitioned
from an outward observation of
the world to a more intuitive,
internal exploration. coming
from deep within myself, my art is
now comprised of pieces of
memories, feelings, dreams, and
imagination.
black on black works have
become the vehicle for me to
portray these fleeting emotional
remnants because
from an outward observation of
the world to a more intuitive,
internal exploration. coming
from deep within myself, my art is
now comprised of pieces of
memories, feelings, dreams, and
imagination.
black on black works have
become the vehicle for me to
portray these fleeting emotional
remnants because
of their inherent subtleties. the low contrast pulls in the viewer. black
draws a fine line between darkness as an evil or an elegance, between an
eerieness and a comfort.
liquid, mainly water, plays a important role in my imagery because of its
fluidity and powerful abilities to nourish, drown, destroy, proliferate life,
change states, erode its surroundings and would-be containers, as well as
its connotations of femininity.
the fragile, ephemeral quality captured in each piece is echoed not only in
their materials and content, but also in its illusive origination.
influencial artists of mine are maya deren, shana and robert parke-harrison,
alyssa monks, damien hirst, and most importantly, tracey emin. for me,
their vastly different mediums, concerns, and translations to art all evoke
strong responses. my drawings, photographs, videos, and prints are similar
to tracey emin's work in that my past relationships haunt me, however,
whereas she makes intimately confessional art in a transgressional way, i
make more dreamlike, subtle images that speak with the language of my
subconscious.
draws a fine line between darkness as an evil or an elegance, between an
eerieness and a comfort.
liquid, mainly water, plays a important role in my imagery because of its
fluidity and powerful abilities to nourish, drown, destroy, proliferate life,
change states, erode its surroundings and would-be containers, as well as
its connotations of femininity.
the fragile, ephemeral quality captured in each piece is echoed not only in
their materials and content, but also in its illusive origination.
influencial artists of mine are maya deren, shana and robert parke-harrison,
alyssa monks, damien hirst, and most importantly, tracey emin. for me,
their vastly different mediums, concerns, and translations to art all evoke
strong responses. my drawings, photographs, videos, and prints are similar
to tracey emin's work in that my past relationships haunt me, however,
whereas she makes intimately confessional art in a transgressional way, i
make more dreamlike, subtle images that speak with the language of my
subconscious.
