text on the gallery wall

Each line within this phrase corresponds to a large scale collage. They hold the location and concern for the actions I take, what is done in my name and question how can I identify systemic causes of racism, sexism and environmental degradation. I desired a record of how I can be mindful to avoid embodying and propagating the harmful ideals I see orchestrated within institutional legislation. I often find these evils thriving inside me. I expel them onto scraps of paper so I can look them in the eye, unfold their seams and see where they have been to try and rid myself of them.

My hope is that these cyclical, self-referential works have created a space to digest ideas by inviting others to ride the ebb and flow of my words and visuals. The prose poetry is my reading, my journey through the works I have created. Through my struggle to accompany this group of images with words, I encourage viewers to participate, to form their own narrative while meditating on the ideas I have worked inside the images.

The scale of the mark itself testifies to my swirling body and dancing arms. A mark of how I have learned to move for months. I have come to a way of creating images where my process remains evident in a physical form. This record of my actions and thoughts proves useful; what I have learned cannot be summarized yet exists in a form that can be shared.

These visuals are dependent upon layering. Layering enables thoughts, events and conclusions made at different times from different locations to come together and share multiple perspectives on the subject matter at hand. Collage is the process, the vocabulary that allows me to articulate this eternally layered, infinitely changing understanding of autonomy.

With others present; we can jump into what is seen. What is seen is personal and must be approached respectfully as such. With that in mind I will stand with what I have done. I am a conversationalist. I strive to let my tongue be held, flap free and twist to control my pace when necessary. To consistently learn from speaking/listening and all other social interaction which involve as much if not more effort then the creation one of these large collages. Each is a unique form of conversation where different ingredients come together in an attempt to form an integrity that can be understood as communication.

Through the creation and destruction of a variety of print processes reborn as larger scale collages, I encourage you to enter a surreal world infused with my personal experience and political commentary. These collages could be constructed using multiple versions of one image. Through a variety of assemblage techniques the original image could have completely dissipated. It leaves no recognizable part of itself, only a story informed by what they are composed of.

I print mostly on recycled paper; over old drawings, etchings or found fabric. The more history is embedded within the materiality of image, the easier it is for me to work with it. The habit of collecting in public invites a break in the secrecy surrounding art making. The question “What are you doing?” might be the beginning of an alliance. In an attempt to bring the artist labor out of the night and back to the work force I have traced my figuration, my topography, my map taking the form of this visual phrase.

revised artist statement

I was parts of we. Before I became me. A triad in turn

With a companion experience to keep us as I passed through with her

I move through a river of time. With elbows up to keep from going under

I swim towards integrity, a foundation causing ripples of interaction

all the way to the entrance of the public sphere

Where dreams of unrealistic support

Found us in a hall of passageways asking how we got in and how we are going to get out.

Each of the lines above is an excerpt from a set of phrases that corresponds to a large scale collage. They hold the location and concern for the actions I take, what is done in my name and question how can I identify systemic causes of racism, sexism and environmental degradation. Understanding orchestrations within institutional legislation is useful but to see a change on a day-to-day basis I desired a record of how I can be mindful to avoid embodying and propagating these harmful ideals. I often find these evils thriving inside me. I expel them onto scraps of paper so I can look them in the eye, unfold their seams to see where they have been and try to rid myself of them.

My hope is that these cyclical, self-referential works have the ability to create a space to digest ideas by inviting others to ride the ebb and flow of my words and visuals. The prose poetry is my reading, my journey through the works I have created. Through my struggle to accompany this group of images with words, I hope to encourage viewers to form their own narrative while meditating on the ideas I have collaged visually. The scale of the mark itself testifies to my swirling body and dancing arms. A mark of how I have moved for months. I have come to a way of creating images where my process remains evident in a physical form. This record of my actions and thoughts proves useful; what I have learned cannot be summarized yet exists in a form that can be shared.

These visuals are dependent upon layering. Layering enables thoughts, events and conclusions made at different times from different locations to come together, each sharing a slightly varied perspective on the subject matter. Collage is the process, the vocabulary that allows me to articulate my eternally layered, infinitely changing understanding of autonomy. With others present; we can jump into what is seen. What is seen is personal and must be approached respectfully as such. With that in mind I will stand with what I have done. I am a conversationalist. I strive to let my tongue be held, flap free and twist to control my pace when necessary. To learn consistently from speaking/listening and all other social interaction involves as much effort as creating one of these large collages. Each is a unique form of conversation where different ingredients come together in an attempt to form an integrity that can be understood as communication. Through the creation and destruction of a variety of print processes reborn as larger scale collages, I encourage you to enter a surreal world infused with my personal experience and political commentary. These collages could be constructed with versions of one image that through a variety of assemblage techniques create a story infused with the subject matter of the original clippings. I print mostly on recycled paper; over old drawings, etchings or found paper/fabric. The more history is embedded within the materiality of image, the easier it is for me to work with it. The habit of collecting enables a break in the secrecy surrounding art making. The question “What are you doing?” might be the beginning of an alliance. In an attempt to bring the artist labor out of the night and back to the work force I have traced my figuration, my topography, my map, that takes the form of this visual phrase.

what do you do?

I am a collector. My collections become collages. College is a codified story through combinations of clippings. Each clipping has its respective history of where I have been and what I was thinking when I recognized them as valuable. Collage is a way to create a personal logic that I can reference and share even during my most contradictory states. I am a printmaker due to my graphic style, love of reproduction and identification with the radical history of resistance within the medium. Etching copper and zinc, carving wood, and screen-printing come together when I digest my proofs into large-scale narrative collage murals. Each clipping/print functions in its own right. Each is a problem to be solved when layered upon or ripped apart. GSS would fulfill the dire need to continue working in all my desired mediums while being introduced to a community of visual arts lovers in my hometown.

my figuration, my topography. My map takes the form of the phrase:

I was parts of we. Before I became me. A triad in turn

had the companion experience to keep us as I passed through with her

while we move through a river of time. With elbows up to keep from going under

we swim towards an integrity, a foundation causing ripples of interaction

All the way to the entrance of the public sphere

Where dreams of unrealistic support

Found us in a hall of passageways asking how we got in and how we are going to get out.

question

I am privileged to have the space to write what I like

I am thankful to have been able to read what I want,

In this case the words of female theorists gone fiction gave me poetry where I can laugh out loud at the phrases and how true they ring.

Yet taken out of their context, out of the safety of their homes

In the minds of the writer/ reader or the reader on the verge of writing they must wait.
With their feet arched, heels off the floor in the pose of a sprinter they linger.

They listen for the time I can enter them seamlessly into our conversation.

A conversation articulated in talk that will let them float on the weight of their truth.
Float on until these seedlings are grounded with ink on paper or skin, sprouting onto mind or praxis.

Its not just what was said but how and when it was delivered that make truth tangible

My question relates to how can I give, pass on, provide for you the space I have experienced.
or if it is possible

I have felt what it is for the workings of my mind to be valued

I have felt this and given in to its luxury by supporting and challenging to my benefit

at times detriment.  

I want to give this space to you. If you want it too.

I have tired to create this visually and will continue to do so for I still have unpacking to do.
What I articulate is still in the process of clarifying itself.

If I make this space will you be able to come there?

Once we get there will it be a parcel, beneficial to take with us on our separate ways?