I’ve been updating my statement over the past few days. I noticed part 2 had a bunch of typos with my bad at phone typing. Anyways, more words. A neatly typed artist statement for you.
The focus of my work is cultural memory. In the spaces of memory, in contested territories, in collective spaces, in forgetting, in remembering, and all the objects around those acts, the images, and other senses that allow us to craft our reality, we create ourselves. My interest is in black liberation, spirituality, nature, technology, performance, and architecture. What I am drawn to is how people interact with one another through these mediums and the pressure that bring inequity on the working class worldwide. Poetry is a large component of my visual world, I see it as a guiding element in my work, using text as a spring board to give the audience an easy access point into the more difficult parts of my work.
Juxtaposition and patterns and our relationship to the things that we see as significant help me create. The act of camouflage and the way images recede and expose themselves in the visual plane characterize my work speak to a level of production in my work. I explore the history of luxury goods and movements of people and the economic repercussions of these movements as a way of entering conversation with how society expresses value. The conflicts around globalization, specifically the proliferations of oppression and how traumatic experiences are manifested and exercised are very important to me. I see the spirit as a way of engaging into this history in a way that goes beyond the cosmetic analysis of much of western philosophies take on the other in this regard.
The natural world is of special interest to me. The regenerative aspects of the planet and the cycles that are inherent in the seasons reflect themselves on our bodies and I try and embody this change in my process. I live and work in an urban environment that is heavily constructed with layers of meaning that stratify themselves through the social structure. To comment on this, I see the performance aspects of my practice as a way creating of ritual to the means of transferring the power that is built into our cultural narratives, altering the spaces we are bound to. As a way of mapping out territory and changes that happens in nature I explore the evolving urban landscape, finding ways to balance the development that is key to mankind now and a future of self determination for all people and an eventual decay of all things.
My current works center on the book as a means of conveyance for information and the epic poem as a tool for revolution. The forms that come out of this book are the visual representations interpreted through a loose definition of instructions gleaned from the book. A large ceramic vessel with a wooden body topped with a mirror, a painstakingly detailed drawing completed predominately in ballpoint pen, the detritus from two years of institutionalization, bottles of napalm, the reliquary of a tree, a vignette performance of the poem, all are representations made object from words on the page. The book itself exists in a digital format speaking to the proliferation and reproduction of ideas from the intimate to the communal. My objective is to bring to life another world where the book is equal record of time as creative product with the poem being the vessel for moving that work between spaces.
This work is not confined to the forms represented they are illustrations of an idea in progress. The words captured in the poem are sourced and limited to one experience and in that are imbued with a singular life, the kind of idea of blood, not a concrete existence, or even general form, a fluid understanding of humanity existing not just as bodies. This work does not seek to dominate the concepts it converses with, rather in its representations works more simply as holds for the audience on a moving surface. It would be easier to fix a meaning to this work as some kind of everlasting or totemic space of blackness by blackness, that would limit the experiences of the initiated in blackness, instead many voices speak through this work as a way to bring the chorus of life to song.
“So, la, ti, do, in joy and sorrow.”