soCurio | art is for everyone

My work doesn’t help me understand the world, but it helps me understand my puzzlement about it. I aim to engage art history and subjectivity by exploring referential space. I create classic portraits, iconic sculptures, and detailed installations. Every piece is infused with references; symbols; systems; signs and signals, which are recognizable and approachable in some facet to the viewer. The ability to instinctively relate to the work is purposeful and intentional. The aura of familiarity is a point of departure into the work which functions by drawing in the viewer. Emphasizing materiality and the figurative, while also being perceptually mutable, the work questions the hybridism and subjective tolerance of our global society. My interest is in making the hybrid object – part painting, part drawing, part sculpture and part environment. Part pop, part baroque, part miniature, part cable television, part Los Angeles, part relic….. and so on. My fascination with this kind of multiplicity of identity is driven by the desire for transformation. The transformations I present are in the signals or codes found in my work. As these signals interact with one another they negotiate the limits of identity. My work depicts the hybrid object through identification and transformation, metamorphosis and catastrophe. The signs act as antagonists and the involvement of the multiple signifiers reduce the overall effectiveness of the audience’s interpretation of those signs. The multiple signals create a transient identity in each piece not unlike a crossed satellite signal. I utilize public subjects, portraits, and social observations to create a performative space in my work. These objects do not settle. The editing aspect of my process is integral to creating these amalgamations; by limiting the number of signals I invite the viewer to examine the formally crafted pieces with a more sensitive awareness. The hybrid object investigates the formal and ideological traditions of the art world and its relationship to the subjective tolerance of a globalized society. The resulting condition allows the confines between the self and the world to be annulled, a sort of socio-global-morphism. I interrogate my subjects through questioning the metathesiophobial worldview, which includes coming to terms with how the global centering of humanity is being revealed as inevitable. Because the objects rely on formal techniques and sociological and historical traditions they also act as one of a kind composite narratives; a preverbal prop inside a kind of invisible niche in the cathedral of life. My life as an artist is only part of this greater global theater in a landscape of transforming individuals.