Performing Arts; Visual Arts: Murals, Painting, Performance Art, Performers and Writers
My work is largely autobiographical. Though I seek to touch more transcendental truths about our condition, I do this from what I know at an intimate level. I pull much of my more vulnerable imagery from my childhood. I am a firm believer in the power of beauty on the human heart, but this can only be communicated at a personal level. Art is an opportunity to discuss the ineffable, obscure, and hard realities of existence.
I am currently experimenting with the intersections of my painting, natural inclinations to the written word, and fundamental identity as a performer. I have been very inspired by Trisha Brown, a choreographer who founded “post-modern dance” and bridged into the visual arts world, and Carolee Schneeman, a performing artist who makes connections to her roots as a painter in her work “Up to and Including Her Limits.” The opening scene of Shakespeare’s Timon of Athens includes the dialogue between the characters of the Poet and Painter, through the medium of theater where words and imagery come together. This continues a long tradition of paragone, where one artistic tradition is argued to be superior. With a diverse background of artistic experience, I have found that multiple disciplines have the opportunity to reach even deeper in their overlap. In examining a subject from multiple angles, the truth can stand more firmly while the illusions inherent to each medium are broken down. I include stillness beside movement, the two dimensional beside the three dimensional, and the representation beside the real. What holds up when the artistic conventions are shown in their artificiality?
The work I am planning now is nearly a theatrical production, fit into the context of the gallery rather than a stage. I am working on three 4×4 foot paintings depicting the sunrise over an empty desert, with large scale figures which are cropped to become more abstracted and design oriented. These will be arranged panoramically. Classical architecture and piles of laundry will protrude from the canvas. The floor space directly in front of the visual piece will host a live performance of improvisational movement both on the ground and from a hoop-shaped aerial apparatus called a lyra. The circular shapes of the lyra are echoed into the composition of the painting.
As a painter, I seek to capture a glimmering feeling of joy through my frenetic details and dewy skin. The work of Costa Dvorezky has set a standard for me in the quality of his skin texture and his masterful connection between realism and expression. This visualized sparkle of sorts is present the ethereal freshness of the morning, walking down a trail, or a quality conversation. I seek perfection, but cannot sit still long enough- I would need to sit still for more than a lifetime anyway. My personal blend of tighter rendering and heavy handed brush strokes creates natural focal points and variations in viewing distance.
I am also deeply interested in the natural world. Working towards an anthropology minor, I bring into my perception of the world a fascination with our roots and how we have related to the world around us. We, as humans especially, have a great propensity to adapt and specialize in response to our conditions. The human body has incredible resilience and potential. Artistically and athletically, I explore how our methods of survival have been continuously abstracted throughout history. What have we lost amidst the triumphs of civilization? Art is an ancient impulse to tangibly take part in our world. I became an artist because I wished to live deliberately.