Paul Rousso calls his 30-by-9-foot entry “the next level of pop art or pop realism.” He made the nearly 80 pieces by “using flamethrowers and three guys in a fireproof suit to heat up a 4-by-8 sheet of acrylic that has the image on it on both sides. That got a little hairy.”
My work explores the relationship between the two dimensional politics of the printed page and the multimedia promise of future enhanced life experiences. Ever since I was a child
I have been fascinated by the endless oscillation of the human condition through text and imagery. As alternating replicas of our day to day become transformed by the inexplicable need to create,
I endeavor to illuminate the imagined, effervescent edges of our all but invisible lives. As these shifting forms become distorted through the lens of history, my work inscribes an epitaph to the
printed reality that was our past existence. |
These subtle forms become distorted through rejection of the academic needs of light and shadow while attempting to focus insight into the darkness of our future.
Exploring the relationship between the history of mass didactic knowledge and complex emotional visual memories. These new combinations are created from both orderly and random narratives.
These narratives define the ephemeral nature of the moment which start out as a vision and soon become manipulated into a tragedy of greed, leaving only a sense of nihilism and the dawn of a new synthesis. As intermittent derivatives become transformed through boundaried and critical practice, the viewer is left with an insight into the possibilities of our condition which define our relationship between the universality of myth through the nostalgia of the ubiquitous printed word and the new national pastime of digital tourism.
With influences as diverse as Kierkegaard and Roy Lichtenstein, new synergies are created from both traditional and modern textures which become fascinated by the unrelenting divergence of meaning. What starts out as contemplation soon becomes debased into a hegemony of lust, leaving only a sense of chaos and the dawn of a new reality.
This intermittent phenomena becomes frozen through frantic and personal desire that reaches deep into the paper and ink consciousness of our past.
Thus Illuminating our future relationship between pixelated multiculturalism and life as performance. By mixing the polarized worlds of the flat and the dimensional, new tensions are created from both orderly and random dialogues that explore the theoretical limits of art and art history. What starts out as yearning soon becomes debased into a hegemony of power, leaving only a sense of nihilism and the possibility of a new reality.
These shimmering icons become reconfigured through compartmentalized photographic saturation, so all that is left is the photoshopped certainty defining the reality of our culture. I have always been fascinated by the unrelenting divergence of relationships that start out simply as a yearning, which soon becomes manipulated into a dialectic of power, leaving only a sense of instability and the desire of a new understanding of the present moment.
These enshrined replicas of time become reconfigured through obsessive, unvarnished desire, where the viewer is left with a clear vision to the inaccuracies of our era through the relationship between consumerist fetishism and the unending onslaught of computer generated realities. These new combinations are synthesised from both explicit and implicit textures by the endless oscillation of meaning. What starts out as triumph soon becomes finessed into a dialectic of distress, leaving only a sense of failing and the unlikelihood of a new understanding.
As shifting derivatives become transformed through nearly 50 years of studious and repetitive resilience, this work attempts to become a beacon to future generations wishing insight from a slot in time that was the very moment when the totality of existence was changed forever.