Looking with Your Eyes Closed
painted with acrylic, stop motion and cell animation composites
duration: 1 min 15 sec





THOUGHTS


The legs cycling of horses and football players focus on revolving and spinning representations of time, space, and movement, I call them Clumsy Revolution. I'm looking for imagery where I can play with your immediate judgment. Something like double vision. Horses have been used to study movement and time in cinema (as I ask myself how can I evoke movement in a painting?), but I'm aware that they can represent the premodern age...these animals were introduced into many cultures, and currently people who still use these animals for transportation can be seen as unmodernized. The image is quite heavy handed as it is covered by an abaya. I'm going to work with it and see where it goes.














There is a humor in the toppling disorientation of their movements. The football players are statuesque and placed on a plinth.










Lately I've been displaying images from the New York Public Library Picture Collection, installing them next to my drawings/paintings with no explanation.





Just chronologically ordered in the time they were photographed, occasionally cordoning off the images with bright pink and orange tapes.





These images come from the "LifeStyle" section of the Hindu Kush Region as this is how the images are cataloged at the NYPL. I'm observing the differences of landscape representation from each decade as far back as 1950. The landscapes were chosen with and without the human figure. I want to know why this picture collection exists, who is curating it, or if it is a volunteer based, arbitrary collection. (Do other picture collections in libraries differ?, Of course they do, a question for my future I guess.) These images have been source material, for me, for some time now and I am very curious as to what it means to use a photographic document for the act of painting chosen from such a specific place.






In some of the work there is more reverence to material, or irreverence depending on how you look at it. I'm using the paint more as a subject than I ever have before. Usually my story telling occurs through illustrative figurations. For these potential works the narrative of collapsing boundaries and migrating traditions lie in the usages of lagging cutaway paper, color, shadows, and dripping paint. I'm calling these, for now, Tired Mountains.





I'm still using figurative painting as a mode which I control and push back as a secondary cause to tell an abstract-image based story. In the drawing of leaning objects stacked on top of one another I'm looking/thinking of my everyday. My everyday objects, in their history and through the course of time, can be seen as inappropriate to different groups of people around the world.





Through normalizing these objects, no matter if it makes sense to the location they are retrofitting into, the proliferation of objects continues in a very absurd yet conscious way. From my eyes I also see them sent through the chain of production and spit out onto the streets of Brooklyn, Austin, Denton, or anywhere else one (I) have lived to gather dust and decorate the urban streets. This drawing is one of many that will help me realize an installation of mundane objects balancing upon one another with draped cloth.


I'm paying close attention to the way I separate flat images from one another. There is always space in-between the images, and I'm always trying to play with shadows.











Transparent materials are fascinating me, materials without color.





I've used islamic patterns in the past and I'm trying to use them again to symbolize the human form. These patterns traditionally were seen as universal looks at aesthetics. The patterns were internalized by the artist/viewer and became reflections of the universe. In my mind these patterns replaced the need to represent the self, the human figure.


Architecture is present in my work and I'm using it to represent geology. I'm trying to grasp what geology means to me currently.







Multiple horizon lines are iconographic for me giving the viewer a choice, choose your own adventure where the narrative is ultimately fixed anyway. And draping textiles onto objects, well how is this different than Man Ray, or Jean Claude and Christo? There is something bizarre about their projects. Draping monumental and beautiful objects, or showing the space between them? I'm playing with those ideas, by covering my Revolving imagery, and geo-sights.


OTHER IMAGES

Touching my Boundary Archival inkjet print, iphoto, 20 x 25 inch



Folding Mountains | Geometry Archival inket print, 11 x 14 inches



Western Figure TV Imagination Drop cloth, inkjet prints, stage lights, plexiglass installation