A series of masks that create a complex and multifaceted portrait of the individual wearing them, which becomes even more complex, given that the individual wearing the mask becomes masked. The concepts within the masks demonstrate moments of introspection, inner worlds and how that creates reflections in external appearance, and pursuits of protection in relation to vulnerabilities. In different manners, they each attempt to question who is experiencing inner turmoil, the wearer or the mask.
Hell.met Home (1 of 4), 2022, Cardboard, hot glue, acrylic paint, sheer fabric, red felt, lentil beans, muslin, seed pods, 13 x 7 x 28 in.
A comedic photoshoot blossomed from a mask made to represent a shell and a snail. The arms that droop down from within the house represent the inner snail, outgrowing its space, the architecture itself representing the shell, unfit for the being. The combination of photo-collage and text advertise an unsuitable living space for any, marketing itself in undesirable, yet honest ways.
Hell.met Home (2 of 4), 2022, Cardboard, hot glue, acrylic paint, sheer fabric, red felt, lentil beans, muslin, seed pods, 13 x 7 x 28 in.
A comedic photoshoot blossomed from a mask made to represent a shell and a snail. The arms that droop down from within the house represent the inner snail, outgrowing its space, the architecture itself representing the shell, unfit for the being. The combination of photo-collage and text advertise an unsuitable living space for any, marketing itself in undesirable, yet honest ways.
Hell.met Home (4 of 4), 2022, Cardboard, hot glue, acrylic paint, sheer fabric, red felt, lentil beans, muslin, seed pods, 13 x 7 x 28 in.
A comedic photoshoot blossomed from a mask made to represent a shell and a snail. The arms that droop down from within the house represent the inner snail, outgrowing its space, the architecture itself representing the shell, unfit for the being. The combination of photo-collage and text advertise an unsuitable living space for any, marketing itself in undesirable, yet honest ways.
Transitional Positions of the Inner Snail (1 of 4), 2022, Muslin stuffed with paper pieces, thread, lentil beans, polymer clay, acrylic paint, yarn, hot glue, 15 x 1 x 50 in.
An extension to the Hell.met Home project. This contorted figure symbolized the “inner snail” that had previously been within the constraints of the shell house. The inner snail, or perhaps new-found slug, is able to wrap and bend around the contours of any body. The combination of photo- collage and text generate a mischievous undertone about the objectives of the inner snail as it works itself around the surface of the body.
Transitional Positions of the Inner Snail (2 of 4), 2022, Muslin stuffed with paper pieces, thread, lentil beans, polymer clay, acrylic paint, yarn, hot glue, 15 x 1 x 50 in.
An extension to the Hell.met Home project. This contorted figure symbolized the “inner snail” that had previously been within the constraints of the shell house. The inner snail, or perhaps new-found slug, is able to wrap and bend around the contours of any body. The combination of photo- collage and text generate a mischievous undertone about the objectives of the inner snail as it works itself around the surface of the body.
Transitional Positions of the Inner Snail (3 of 4), 2022, Muslin stuffed with paper pieces, thread, lentil beans, polymer clay, acrylic paint, yarn, hot glue, 15 x 1 x 50 in.
An extension to the Hell.met Home project. This contorted figure symbolized the “inner snail” that had previously been within the constraints of the shell house. The inner snail, or perhaps new-found slug, is able to wrap and bend around the contours of any body. The combination of photo- collage and text generate a mischievous undertone about the objectives of the inner snail as it works itself around the surface of the body.
What do I know about a Stranger, 2022, Paper clay, cardboard, tape, hot glue, scrap fabric, acrylic paint, 16 x 3 x 15 in.
A mask created to embody an interview with a stranger, where simple questions about interests led to deeper discussions. The concepts became intertwined, and their desire to weave all moments in their brain into a nucleus, with pits an ladders and dips and protrusions, our conversation generated a landscape.
What do I know about a Stranger (progress shot), 2022, Paper clay, cardboard, tape, hot glue, scrap fabric, acrylic paint, 16 x 3 x 15 in.
A mask created to embody an interview with a stranger, where simple questions about interests led to deeper discussions. The concepts became intertwined, and their desire to weave all moments in their brain into a nucleus, with pits an ladders and dips and protrusions, our conversation generated a landscape.
I can’t mask it well., 2022, Scrap fabric, styrofoam, hot glue, cardboard, acrylic paint, 7 x 22 x 10 in.
A discernible articulation of an inner pit. The structures of the head piece completely transform how the body is held, the droops and folds within the fabric around the eyes bleed into the rest of the body. Any movements of the body will be infested by the feelings that come along with staring at the emptiness within the eyes.
I can’t mask it well. (detail shot), 2022, Scrap fabric, styrofoam, hot glue, cardboard, acrylic paint, 7 x 22 x 10 in.
A discernible articulation of an inner pit. The structures of the head piece completely transform how the body is held, the droops and folds within the fabric around the eyes bleed into the rest of the body. Any movements of the body will be infested by the feelings that come along with staring at the emptiness within the eyes.
My art investigates the ways in which bodies merge and connect, from intertwined hands to spiraled spines and conjoined limbs. These physical points of connection serve as the foundation for a larger web, a network of relationships that extend beyond the individual. My fascination with the way bodies interact is rooted in a deep sense of introspection. My deep observational habits allow the behaviors, emotions, and actions of others to help piece together meaning within the subtle nuances of human interaction. My life and eyes are lived through the hand, through observation, and through connection. This desire for connection and interwovenness extends beyond the physical realm and into the realm of materials. I am drawn to versatile materials and layers, each element building upon the last to create a complex and multifaceted whole. Through illustration, painting, sculpture, fibers, and animation, I strive to create works that are as interconnected and complex as the human experience itself, thus my work will never have an endpoint, but will continue to grow and collapse in parallel to the fluctuations of my mind.