This collection “Giving Birth to Truth and Mourning Lies” is a reduction and culmination of two other bodies of work “Yesterday Called Tomorrow, and It Was Crying” and “I am MORE than My 360 Eggs”. This collection based on social inequity is derived from events (past and present) fused with recognizable images and icons which have affect on the human condition.
My architectural background in interior design, advertising, and web development serve as the structural bones present in much of my work as a new media conceptual artist. My narrative technique is not linear or direct. Understanding the work depends on the viewer’s interest to reflect on an issue. The visual dialogue I hope to have with the viewer begins in meditative uncluttered starkness. I layer and veil visual double-entendres to expose the axis of several steps of meaning. The narrative presents as an escalation in reasoning. You find the handle on a door, then the door to a room, then the room within a person, then the person in a home, a house in a culture, a culture in a country, and a country in time. Each artwork is a riddled breadcrumb on one of several trails in the broader scope of my work.
My influences are a synthesis of what and whom I consider, interesting and relevant. I often feel I am repelling through a crevice in time - I have two clocks: one is stuck in the strangely familiar era of Dadaism, the other clock races thru the virtual frontier at the speed of light. John Heartfield’s images are my common palette; I use Bertold Brecht’s devices to relate to an imagined viewer. Margaret Mead’s ideals of personal and cultural responsibility often fertilize the context of my work. The artists who I think peer out at me most from my work are Dorothea Lange, Kara Walker, Kiki Smith, are Shirin Neshat.
I am graduating this term from California State University, Stanislaus with my BFA in New Media. Next fall, I begin my MFA in New Media at the University of California, Santa Cruz, Digital Arts and Media Program.
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