Life after Love
trophies, neon sign, fake flowers, velvet, curtains, rope, bed, tassels, 18" lcd monitor, speakers, wood, spray paint, dollies, concrete, plaster, pillow
Life After Love, is a love story; a self-conscious investigation of the realities we construct. It began as an interest in the transactions between humans and objects. Later evolving into a critique of domestication, identity, faith, friendship, and mythology.
I wanted to create a place of refuge, a literal and metaphoric head space that could simultaneously honor, objectify, and lay a person to rest. I drew inspiration from eccentric displays like Kim Jong Il's mausoleum, baroque cathedrals, and ancient burial rituals. I constructed a cavernous mound underneath an enshrinement of sports trophies and a neon beer sign; objects emblematic of my adolescent indoctrination into society. Within the mound was an insulated velvet lined sound chamber and a video display with my collaborator Charlotte Nugent adorned as an angel like goddess serenading the viewer with a beautifully improvised classical tune.
The concept for having a video display was inspired partly by an anthropological study on ancient sarcophagus lids. I read the essay through the lens Alfred Gell's influential Art and Agency-Technology of Enchantment. Important Maya sarcophagus lids are often inscribed, detailing a journey into the afterlife. Gell would argue that the domesticating agency of these objects rests in their efficacy to actualize the journey that needed to happen. Essentially, to make something believable comes down to the objects efficacy, which can be achieved in a number of ways; including superior craftsmanship, rituals evoking sensory stimulation, feelings of the sublime or uncanny. In this work I wanted to create an intimate transformative and transitive experience.
The work symbolizes a metaphoric death of a past self, and a voyage to a new beginning, guided by Charlotte, my roommate, a queer butch woman, who embodies my personal re-idealization of the western canon.
meditations on vice
stoneware, oil paint, Budweiser 40oz, kiddie pool, 2"x4", vinyl tubing, water pump, pond stones, rug, kitchen sink nozzle, bondo, ace bandage, metal pieces, screws, nails, copper wire, polyurethane.
After being unavoidably bombarded by the historical significance of Duchamp's fountain, I humored the idea that art has died. So I began to wonder; is all art following the death of art, just a fear of death?
How do we cope with the imminence of mortality? In this case, leisure, meditation, and intoxication. This work exemplifies a loss of innocence and can be seen as a commentary on the underbelly of American culture.
A water pump runs through an iconic Budweiser 40oz and funnels water delicately through a lounging ceramic gut emptying endlessly into a kiddie pool. The contraption creates a relaxing ambient trickle that soothes the gallery air. Reminiscent of urine splashing into a toilet.