The linear image of the tangled crochet, steel, and other mixed mediums is a reflection of each person’s societal obligations. The web represents the sociological forces of the super-ego that bind an individual’s self to the community or the lack thereof. The light cast through the work reveals textures in the materials and creates secondary imagery in the shadows reverberating the vastness and voids of the super-ego. Superficially, my work is appealing in its use of texture, color, light, and visual contrast. However, this installation derives from my obsessive, repetitive work in crocheting and my examination of the idea of comfort.
I come from a blue-collar family, but one unique privilege of my lineage was the “family business”, Aviation. Growing up around and on airplanes afforded me a distinct perspective, both literally and figuratively. So when I took on the concept of “home” and the inescapable will for places to be concrete, I took to the sky for some objectivity. Landscapes and aerials is an ongoing series examining the impermanence of spaces and the human will to project our memories on to buildings and land. The objectivity of the aerial is inescapable. The height eliminates linear perspective, and renders even the most recognizable places abstract. I began this series shortly before hurricane Sandy damaged my home and rendered many of my loved ones homeless. I continue to utilize this series to document moments in time. I paint impermanent wetlands, where I spent much of my youth, and homes that no longer exist or have since changed.
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