Artist's Statement
Many times, my imagery brings about a certain uncomfortable spirituality, derived from the simplicity of forms and a minimal, if not non-existent color palette in combination with an emphasis on the action of binding and sexual undertones. I use androgynous forms and a pared down color palette to challenge the systematic presupposition of thoughts within the human psyche. In my work, I want to bring attention to the subconscious, yet preconceived ideas which all of us hold within our minds, particularly in reference to gender, submission, and potentially taboo and hedonistic pursuits. I choose to dis-gender my images, opting for simpler and more refined objects and parts of the body that can be viewed as androgynously as possible.
For example, I am placing specific pieces of furniture in sexually compromised situations, combined with the absence of the physical human body in an effort to raise questions for the viewer. The absence of the real body challenges the viewer to place themselves, or a personal subject of desire, into an empty chair. This propels additional inquiries with regard to the gender of objects that are related to the body. What is the sexual nature of a chair? The gender of a shelf, or a pair of hands, setting stereotypes aside? I choose to dis-gender my images, opting for simpler and more pared-down forms. I choose to refine the objects and parts of the body included in my sculpture, stripping away traditional clues of gender, to allow the work to be viewed as androgynously as possible. Ideas surrounding the psychology of human sexuality, absence versus presence, and the spirituality found in stillness and minimalism are prominent areas of my personal research.
Formally, the sculptures I create are rooted in bondage and geometry, while many objects are based on bound human figures. The abstraction of these elements allows for a formal relationship to emerge between the object and the space in which it resides. By focusing on binding and then stillness, the materials within the sculptures bring forth their own contextual meaning. For instance, my use of rope can bring a sense of discomfort or unease due to the material’s roots within the BDSM subculture. Bondage and discipline, domination and submission, sadomasochism and masochism; all of these different sub-genres of the BDSM acronym convey their own separate meanings and emotions. The act of binding and bondage allows for the reference of sexual subversions to be imprinted onto a human-like form or figure. Further, by incorporating literal moments from the BDSM subculture such as hypodermic needles and textual books, I choose to illustrate the realism of the subculture; this challenges the viewer to navigate something that is disturbing or unnerving and traditionally taboo – feelings not innately acquired at the forefront of the piece, but which eventually emerge. I create sculptures that reference the body without necessarily being a physical representation of one, though some pieces inhabit a physical figural space, as well.
Similarly, my printmaking is very much about the figure, the body, and the absence of specific figural elements. Within my prints, I employ small etchings as technical studies in a Vitruvian manner. I then expand these studies into large woodblocks, where I utilize my own body to replicate the motion of the study itself, and transfer said motion onto the woodblock. The woodblock prints act as a physical action, turned representation of the initial study. As in my sculptures, I am interested in formal contrast and the juxtaposition of forms. I choose to utilize the absence of the body as a way to engage with subconscious assumptions and prejudices. Through this mode of working, I give myself the ability to create kinetically, much like the way one would create sculpture. The act of typing and the performative aspect of making are heavy emphases on why I create sculpture. Though I work privately in the studio space, the performative qualities of my chosen mediums and materials allow me to connect with the work on a physical level, as we as an intellectual one. Both my prints and sculptures are indicative of the absent body and disconnected appendages.
For example, I am placing specific pieces of furniture in sexually compromised situations, combined with the absence of the physical human body in an effort to raise questions for the viewer. The absence of the real body challenges the viewer to place themselves, or a personal subject of desire, into an empty chair. This propels additional inquiries with regard to the gender of objects that are related to the body. What is the sexual nature of a chair? The gender of a shelf, or a pair of hands, setting stereotypes aside? I choose to dis-gender my images, opting for simpler and more pared-down forms. I choose to refine the objects and parts of the body included in my sculpture, stripping away traditional clues of gender, to allow the work to be viewed as androgynously as possible. Ideas surrounding the psychology of human sexuality, absence versus presence, and the spirituality found in stillness and minimalism are prominent areas of my personal research.
Formally, the sculptures I create are rooted in bondage and geometry, while many objects are based on bound human figures. The abstraction of these elements allows for a formal relationship to emerge between the object and the space in which it resides. By focusing on binding and then stillness, the materials within the sculptures bring forth their own contextual meaning. For instance, my use of rope can bring a sense of discomfort or unease due to the material’s roots within the BDSM subculture. Bondage and discipline, domination and submission, sadomasochism and masochism; all of these different sub-genres of the BDSM acronym convey their own separate meanings and emotions. The act of binding and bondage allows for the reference of sexual subversions to be imprinted onto a human-like form or figure. Further, by incorporating literal moments from the BDSM subculture such as hypodermic needles and textual books, I choose to illustrate the realism of the subculture; this challenges the viewer to navigate something that is disturbing or unnerving and traditionally taboo – feelings not innately acquired at the forefront of the piece, but which eventually emerge. I create sculptures that reference the body without necessarily being a physical representation of one, though some pieces inhabit a physical figural space, as well.
Similarly, my printmaking is very much about the figure, the body, and the absence of specific figural elements. Within my prints, I employ small etchings as technical studies in a Vitruvian manner. I then expand these studies into large woodblocks, where I utilize my own body to replicate the motion of the study itself, and transfer said motion onto the woodblock. The woodblock prints act as a physical action, turned representation of the initial study. As in my sculptures, I am interested in formal contrast and the juxtaposition of forms. I choose to utilize the absence of the body as a way to engage with subconscious assumptions and prejudices. Through this mode of working, I give myself the ability to create kinetically, much like the way one would create sculpture. The act of typing and the performative aspect of making are heavy emphases on why I create sculpture. Though I work privately in the studio space, the performative qualities of my chosen mediums and materials allow me to connect with the work on a physical level, as we as an intellectual one. Both my prints and sculptures are indicative of the absent body and disconnected appendages.