Word Studies
The "Word Studies" works is an ever-evolving body of work visually and functionally. The beginning overall purpose of this body of work is to examine the process of how "fine art" communicates to the viewer. It examines how visual communication functions with verbal language on the most basic level, and how it effects perception. With that intention in mind appropriated works, found mass produced frame and images, are used as a control to begin the equation. The imagery is photographed, modified, printed, painted over, and placed into its original or modified frame, the process varying from piece to piece. The goal of this examination is to make work that constantly challenges and informs the viewer as well as myself visually and intellectually.
The work questions art's role in contemporary society and how it can change and is changing by the blurred lines between design and fine art. I go about creating multi level works that are accessible to multiple audiences at one time. For example, I do not only create art works only attainable to the artists and art critics, but to individuals who are much more adept to a particular work's subtopic; such as environmentalism, organized religion, identity, overall societal ideologies and so on. When creating these works I mix my own personal queries and tribulations with the topic of interest. This does not mean the work is about myself, and my background as an artist, I use myself as a vehicle to communicate by comparison of archetypes.
With all the works having a foundation of questioning perception, the work has been evolving into an experimentation between image and object and they have been more sculptural as they progress. Introducing texture, size and material's used as a means for comparison and purpose, the found images are modified even more graphically then before to add specific significance to color and clarity. The prints themselves are painted over, separating sections with glossy and matte layers to make subtle transparent ties between different layers of information. The first layer functions when the object is viewed as a whole in its context to the gallery it is in; how the work comments on the gallery world, how the imagery might be "OUT OF PLACE" in the gallery, and how the works come back around at times to comment on art history. The second layer is within the frame and how the visual language, the ideas of words functioning as signs and symbols, interacts and reads against the visual it is painted over. The third being language and/or auditory based, it is based on how the visual of the words force you to read slower, faster, over annunciate, or pause with unfamiliarity. The last layer is external from the work, being purely language based. It is the title, and it is used as an informational devise for the viewer and an entry point to read the work differently and more conceptually. These works attempt to break down dependencies of verbal/visual communication in hopes to slow the viewer down for the contemplation of the work's purpose. Along with slowing down the read, the works are meant to mix up literal meanings with the metaphorical to impose a questioning of "what is" onto the viewer while reading into each individual work's topics of discussion.
The works are linked together only by their ever evolving process in order to maintain constant new territory for the viewer and myself. I view these works successful if they begin a dialogue of thought, questioning, and conversation amongst the viewers without becoming didactic. The pieces are not intended to make statements and give answers but to facilitate questions and wonder.
The work questions art's role in contemporary society and how it can change and is changing by the blurred lines between design and fine art. I go about creating multi level works that are accessible to multiple audiences at one time. For example, I do not only create art works only attainable to the artists and art critics, but to individuals who are much more adept to a particular work's subtopic; such as environmentalism, organized religion, identity, overall societal ideologies and so on. When creating these works I mix my own personal queries and tribulations with the topic of interest. This does not mean the work is about myself, and my background as an artist, I use myself as a vehicle to communicate by comparison of archetypes.
With all the works having a foundation of questioning perception, the work has been evolving into an experimentation between image and object and they have been more sculptural as they progress. Introducing texture, size and material's used as a means for comparison and purpose, the found images are modified even more graphically then before to add specific significance to color and clarity. The prints themselves are painted over, separating sections with glossy and matte layers to make subtle transparent ties between different layers of information. The first layer functions when the object is viewed as a whole in its context to the gallery it is in; how the work comments on the gallery world, how the imagery might be "OUT OF PLACE" in the gallery, and how the works come back around at times to comment on art history. The second layer is within the frame and how the visual language, the ideas of words functioning as signs and symbols, interacts and reads against the visual it is painted over. The third being language and/or auditory based, it is based on how the visual of the words force you to read slower, faster, over annunciate, or pause with unfamiliarity. The last layer is external from the work, being purely language based. It is the title, and it is used as an informational devise for the viewer and an entry point to read the work differently and more conceptually. These works attempt to break down dependencies of verbal/visual communication in hopes to slow the viewer down for the contemplation of the work's purpose. Along with slowing down the read, the works are meant to mix up literal meanings with the metaphorical to impose a questioning of "what is" onto the viewer while reading into each individual work's topics of discussion.
The works are linked together only by their ever evolving process in order to maintain constant new territory for the viewer and myself. I view these works successful if they begin a dialogue of thought, questioning, and conversation amongst the viewers without becoming didactic. The pieces are not intended to make statements and give answers but to facilitate questions and wonder.
