My work challenges perceptions and manipulates expected imagery and anticipated content by juxtaposing them amongst fantastical scenes and nonsensical compositions. By maneuvering between the real and the unreal, they exist as a refusal to accept the predictable manifestations that an expectation may cause. Layering media that are not commonly mixed together, such as watercolor and silkscreen with transparent papers and found objects, sets the stage for spontaneous forms and symbolic connections to occur. Blending hand crafted and highly rendered naturalistic elements with mass produced ones, a strategy that can be found in Dirty Thirty, also exaggerates this oscillation between the real and unreal. Despite their theatrics, the works expose personal and cultural truths as the subject matter coexists amongst the cheeky humor and layered symbolism. The work embodies a style that both physically and conceptually fuses elements of early renaissance and surrealism with pop art, and abstraction. In these pieces, the metaphorical and whimsical characteristics of Hieronymus Bosch and Pieter Bruegel’s work meet the graphic style and social commentary of Barbara Krueger or Kara Walker. The multi-media and imaginative forms collaborate to address personal and cultural issues in weird and wonderful ways.
Collage is a tactile and tangible way of creating visual art that is reminiscent of a director’s role during a performance rehearsal. I direct the physical pieces in their interaction with each other which creates intentional clues for where the story could lead. While these “actors” are told which set to be on and in what order to appear, any improvisation on their part is embraced and sometimes used in place of the intended script. Through the mischievous infusion of misdirection and an embracing of the bizarre, an environment that promotes curiosity and investigation amongst the viewer is perpetuated. The works are directional and stage setting, but not conclusive. While some pieces present their layered symbolism amongst abundance and excess, others require a physical investigation of the eye to read between the subtle semi-transparent layers.