The “CAB” sculptures reflect my interests and research into Neoclassical and Visionary continental architecture and furniture, and how these grammars filtered into 20th Century American lexicons of auto design, modernist sculpture, sci-fi spacecraft, and military architecture. Generated in the post- 911context, the CABS translate all these influences into new forms. Their hand-polished pearl white exteriors were chosen for a luxury car-like quality, a sense of dignity, a superficial lightness that complements the object's heavy physical weight, and its ability to elicit utopian associations. Each sculpture may be encountered as an expanded or closed object, thus exploring associative realms of the holistic, transforming, or ruptured container. Parallel to auto design prototypes the sculptures suggest functionality and question it at the same time. As unique objects both design prototypes and the CABS are autonomous, existing at the core of any symbolic or potential re-production.
The CABS are the products of our post- 911era, filtering our attitudes into form itself. In a back-to-the-future manner, I was particularly intrigued by Democratic philosophies and the proportional logics of the human body that were embedded into the formal grammars of ancient Greek and Roman Classicism. Classicism and its descendent Neoclassicism have, however, mixed historical legacies. While their forms may embody ideals of honor, civic virtue, and democracy, they also symbolize autocratic political power, personal luxury, and ostentation. Classicism strangely accommodated for all of these philosophical manifestations through its own form of entropy-- the poetic tragedy.
Weekend installation, 2011
The Stealth Space work engages the dialectic between the near and far, and what is mediated versus seen and experienced through the body. Stealth Space is about different perceptions of space and time mediated by the inhabitable Stealth Vehicle sculpture and its related two-dimensional work within the gallery context. The conceptual premise of the Stealth Vehicle sculpture is that any space existing beyond its own physical limits is deemed as ‘outer space’-- hence positioning itself in relation to the sensibility of the gallery as a ‘non-site.’ The image sources for many of the space collages are super-close up photographs of the materials used in The Stealth Vehicle. The gallery, along with a participant’s engagement, acts as an instrument to facilitating connections to the beyond. Stealth Space is grounded in American secular progressivism of the 1960s, Marshall McLuhan’s sensibilities of mediated consciousness, and Space Age adventurism.
Long Beach City College installation detail, 2015
My work merges drawing and painting with writing and activism. It is my means to connecting civil rights history in America to contemporary socio-political struggles, to inspiring consciousness among the white people in my audience, and imaging a revolutionary future.
This subject matter is articulated primarily through hand drawn language, which signifies my personal processing of the content. The words and phrases that I render are derived from political rhetoric, research, historical dates, future time, entities, quotes, and my own expressions. This information carefully directs the composition of a final work, which initially emerges through a writing-meets-collage mock-up process using prototype versions of each text. The visual outcome is a collision of, and coalescence of information, rhetorical sensibilities, and interpretive directionalities that evoke different readings, and associations. The portraits and images I use reference the people and historical subject that inspire the rhetorical framework and lexicon of a work.
In addition to 20thCentury text-based political ephemera, conceptual art, and Dadaist collage, Modernist abstraction, and Social Realism stylistically influence my work. My intention is to communicate revolutionary content in a visually irresistible way that builds upon the utopian associations of these stylistic modes. Each work unifies elements of history with the contemporary moment, and asks the reader to cross that apparent temporal divide through visual pleasure, interpretation, understanding, and future making.