More than just tribute to the distiller, this meticulously crafted alabaster effigy of extruded polystyrene, transcends the role of decorative object acting as metaphor to Stephen J. Gould’s conclusions on biological determinism. Speaking in scale to mismeasures by, and of, man and subsequent flawed evolutionary theory, this 32” depiction amplifies the difference by size compared to historical attainments by the subject.
In the tradition of the Hudson River School comes this definitive take on the American landscape, one which embraces the grandiose nature of the great 19th century style, but transcends its tranquility, introducing a more intimate intensity found in the modern age. The subject matter of this sublime woven piece, a lone wig, separated from it’s migrating herd, stands alone fighting the currents of an asphalt stream much as the modern individual fights against the currents of the society and just as alone. Created in the waning months of 2009 this work is prime example of a truly new style.
Posed as a protest and challenge to American society and its taxed educational establishment, this unique piece comes on with great bluster and gradually finds incomprehensible drivel its true voice. This is a piece that is both painful and satisfying in that it proves many of Stephen J. Gould’s hypotheses on evolution. It is both frightening and beautiful and should not be discounted as harmless.
A profound statement on love’s lost innocence and youth’s tragic descent into adulthood, this striking composition displays in artful contrast the stark reality between the freshness of first love and the harsh reality of its end. The artist’s use of color and scale allow the viewer to suspend their own disbelief, ultimately accepting Biblical fiction’s relationship with modern culture. Painted using a combination of natural and synthetic materials whose organic decomposition is a given, the viewer is urged to revisit and reconsider numerous times.
This unexpected found-art piece comes to life in direct response to a disengaged society that seems more and more void of human interaction. Inspired by the works of Rube Goldberg, this installation, reintroduces the warmth of tactile media and communication to a civilization unaccustomed to organic contact and mechanical interaction. The mere metal on metal mechanical mnemonic combined with the contrast of pulp rag, recreates experiences, found only in the vaguest of memories.
More than just an exquisite example of typographic transcendence, this artisan execution works as both homage to Max Miedinger and Eduard Hoffmann while offering frank appraisal of a puritanical hypocrisy that oppressively voices salubriousness while taking little responsibility beyond symbolic placard. The visual urgency of the language combined with rudimentary iconography bespeaks the contradiction in circumstance between those who serve and those who are often recipient. The execution, screen print on cellulose base, makes for a memorable visual experience.
This fine lithographic print represents some of the highest quality artistry of the method, ensuring that the representation is equal to the subject matter, which serves to symbolize the transcendence of popularity from earlier pop-culture deities, namely: The Beatles to latter, more polarizing cultural figureheads. The contents of this piece, themselves represent a more culturally relevant communion vehicle that speaks to limited appeal of “the body” and attention deficit of man.
Conceived as a statement on relationships and their uncertainty, this installation piece, focuses as much on the live portion of the performance as it does an environment, which is in constant flux based on those who inhabit it. The occasional addition of a black light component adds a level of drama and reality that places the performance in entirely different perspective.
Struck in fine porcelain, this sculptural installation brings fine art and life together as one seamless, if fleeting, relationship. Its ubiquity is one of the finest examples of truly democratic art, in that it transcends class and creed, allowing for individual relationships to form and be comprehended relative to circumstance.
In response to the homogeneous nature of modern culture, this avant-garde symbolization is struck of a compound of Hevea and high-carbon metal, and celebrates the great contrasts found in the modern urban landscape. This duality of wild and domestic speaks to civilization’s increasing desire for more individual independence and a return to its core primitive nature.
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