Glitch Painting Experiments

Contrasting Spectacles: Show Installation

I'm going to be installing my work at Next Door on the 9th; my work will be along one [giant!] wall and I'll be showing with Jillian Schiavi. The closing reception will be sometime in January or February. I plan to show my work in a new way with the montages I have made. The montages will be presented alongside the painting in order for the viewer to seek out ways in which the paintings deviated from the sources. The montages provide a starting point for a dialogue, and it'll be interesting to see how the conversation changes with them presented as prints in floating frames on the wall. 

Next Door on Artslant

Work-Related Research

Carnivalesque by Bakhtin
This is a bit of a starting point for research for my [historical] investigation of indulgence. This explains a bit about the concepts of the carnival found in the writings of Mikhail Bakhtin. This writing was referenced in Television Cultures by John Fiske.


       

Simulation Installation

Waiting Room Simulation "A painting itself can contribute to [this] decorating." -Excerpt from artist statement

File>Duplicate

I feel a pull in my practice. The digital influences are changing the arts vernacular, and changing it while I try to carve out what is my practice and what is not. Going back to the Orchestra of Overkill series, which in all honesty, right now consists of one painting. Which is okay. The means of which this project requires are extenuating, but the obligation to myself to finish, or at least gain a substantial amount of headway on it, is the fuel.
Meanwhile, I make photomontages as a tool to contemplate the content of the final works. I am inclined to refer to these photomontages as sketches. What is interesting, though, is that they cannot quite exist as an original, and when grouped with my painting process, I feel this is gravely problematic. These montages have the capability to exist on millions of screens if posted online, or millions of editions as a print, and yet not one of those images is the original.

"An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the "authentic" print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed." -Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction

RAW:Chicago 2013 Interview

Visual Statements

Formalities, Oil on canvas

The advantages and disadvantages of being a woman are made a subject of controversy every day. Women are dynamic. I know that every woman has it in her to be independent, strong, and respectable. Sexist talk is what it is, merely talk. There is no way to stop every hurtful word and ill-formed opinion. A form of degradation is sexual objectification, but that role can lend itself to the revelation of serious and stunning truths about what it is to be female, and with it the light sting of humor that accompanies lingering stereotypes.

Addiction Machine

Addiction Machine, Oil on canvas

The digital age is changing society in ways yet to be seen. Is it good or bad change? Maybe it’s both. Regardless, I miss the days where it would be special to send a picture message of a finished work to my friends and family. It was intimate. Now it goes out to a vat of virtual opinions. The bigger the audience, the harder it is to be honest. I want art to speak the truth because truth is the only thing we have, and art has the potential to do this. I don’t edit a work based on the amount of people who are going to see it. It simply is what it is. It takes courage to tell the truth rather than to say what people want to hear. I believe that art is called to react to this distorted virtual reality with a relentless and unconcealed truth.

Finicky Materials

Final Test. Latex, enamel, and gesso on wood. March 2013.

I LOVE new and foreign materials. Unfortunately, my favorites always happen to be hazardous or ephemeral. For instance, one of my tests that included latex will start to wilt and disintegrate in six months, and I’m looking for a material that could stick around in a gallery for a while.

I have been using, and will continue to use traditional painting materials in conventional ways so that I will have brought tradition into the conversation; and with that, the rest of the work functions to 'push up' against these formal qualities. Four bars, stretched canvas, gesso, oil ground, etc. I will paint an abstracted image onto the canvas to my full ability with oil, spray, and enamel paints. This sets the stage for future material experimentation, which I have done before, but this time I will go way too far.