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51 X 51 X 6" styrofoam, paper pulp, acrylic, lithographic pencil & wood frame 2010
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I'd love for you to see them I think it would make a lot of difference.
If you've got any ideas how, I am definitely open to it, please just let me know.
I remember well at my final critique in grad school.
My professors saw some of the work that was in the recorded submission to the committee.
They said the committee had just bashed me but they were amazed when they saw my actual work.
Several of the professors came up to me after the crit and gave me their hands and said "quit your job."
They were going back to the committee to ask to get me more research fellowship money.
They managed to double my money but I appreciate that gesture even more.
It gives all the more meaning to that reward.
Thanks for responding Bryan,
I would love to see these pieces in person; I imagine the tactile/haptic quality is more pronounced in the object.
I can see its harder to get the opacity and transparency that works with more conventional mediums. But I do see the primacy and power in this art work. One of my professors in grad school wagered that I would abandon this process. He thought it "saves the day" like Jackson Pollack"s drop paintings.
Thank you for writing so thoughtfully about my work again.
I’ve enjoyed the instinctual, gestural qualities in your work for some time, and these new posts are no exception. But looking back through the most recent drawings and paintings, Warplane Woman stands out for me in terms of substantial scale, unusual use of mixed media and the amalgamation of figure and machine. The figure-ground distinction is more clear than in some of the other expressive pieces, posing a fleshy corporeal form up against the pale background. The tinted blue hue implies sky, despite the flightless nature of the warplane woman. I imagine the use of pulp and foam offers sculptural and organic modeling, though the dimensions don’t indicate a significant relief surface. The thin lines and shapes surrounding the main subject offer a small amount of animation, keeping the figure from appearing static or totemic in the composition. Physically large but fractured, with her abstracted and contorted legs spread to open to both propeller and a version of vagina dentata; the disjointed entity is disturbing in both her incomprehensibility and predilection towards violence.
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