TRM Chicago, or The Running Man, is an online magazine based right here in the Windy City. Ashley Joyce, one of the writers and co-founders of TRM, interviewed me about my work and ideas a short while back. The result of that bit of interlocution is this article, a perceptive and beautifully written bit that neatly sums up some of my overall working philosophies. You can read that article (and further explore The Running Man) HERE.
In other news, I recently delivered some paintings to the new CorePower Yoga in Bucktown. These works will be displayed for the next 8 weeks in the studio's fresh and lovely new lobby, located at 1704 N. Milwaukee Ave., in Chicago. Stop on by, check out the work, and get into a down dog.
Last but not least, the very first release by my band Population is available now, on Lifetime Problems. You can order and/or learn more about this product HERE.
Thursday, September 30, 2010
Tuesday, September 7, 2010
New Work: 'Fear and Autonomy'
I've just completed a new piece entitled Fear and Autonomy. It's dimensions are 76x101cm or 30"x40", acrylic on panel. (Please click on image for a higher resolution view.) A statement and description of this piece follows:
Much of my current work explores the existentialities of human experience. In the painting Fear and Autonomy, I have focused on the plight of the individual within a world of influence and oppression. On a daily basis we are bombarded by conflicting interests in culture, faith, politics, and relationships. The individual self can be literally overwhelmed by these waves of dissension and stimulus, its faltering ego washed overboard into swirling seas of cultural excess.
In this work I have endeavored to depict an ego enmeshed within the trappings of divergent cultural effects, the colorful but often questionable results of our meandering pursuits for meaning and personal resonance in this modern age. Between affectations and pretensions that belie our insecurities we find paranoia and fear; the curse of living in a world where information rests at our fingertips is the ever-lurking reality that we are not at all omniscient, and truth is as elusive as ever.
The female figure in Fear and Autonomy seems to be floating toward the sky, and consequently the unknown. As the mythic account of Daedalus and his fated son Icarus implies, there is danger in this undertaking. I co-opted “terror eyes“, large blow-up balls marketed to ward off pigeons and starlings, as symbols of the paranoia-inducing tumult of the kinetic world around us. The composition of this painting was meant to induce a chaotic dynamism even while an equilibrium is evident.
Much of my current work explores the existentialities of human experience. In the painting Fear and Autonomy, I have focused on the plight of the individual within a world of influence and oppression. On a daily basis we are bombarded by conflicting interests in culture, faith, politics, and relationships. The individual self can be literally overwhelmed by these waves of dissension and stimulus, its faltering ego washed overboard into swirling seas of cultural excess.
In this work I have endeavored to depict an ego enmeshed within the trappings of divergent cultural effects, the colorful but often questionable results of our meandering pursuits for meaning and personal resonance in this modern age. Between affectations and pretensions that belie our insecurities we find paranoia and fear; the curse of living in a world where information rests at our fingertips is the ever-lurking reality that we are not at all omniscient, and truth is as elusive as ever.
The female figure in Fear and Autonomy seems to be floating toward the sky, and consequently the unknown. As the mythic account of Daedalus and his fated son Icarus implies, there is danger in this undertaking. I co-opted “terror eyes“, large blow-up balls marketed to ward off pigeons and starlings, as symbols of the paranoia-inducing tumult of the kinetic world around us. The composition of this painting was meant to induce a chaotic dynamism even while an equilibrium is evident.
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