I use mannequins in most of my work as they tend to be an idealized expression of the human form. I fill them with innards made of the cast off pieces of technology that we take for granted and discard every day. In so doing I try to show that we are becoming soulless as we rampantly ingest technology – we still look human but have taken on a colder, more mechanized persona.
My childhood tended toward artistic pursuits, drawing intricate copies of Escher and da Vinci, writing sonnets, pouring over books of antique arms and armor, dreaming of castles and cathedrals. Always in love with history and classical art I took images and memoirs of what I learned into my psyche – and they have stayed with me. It was as if I were storing these collections like pennies in a jar to be used on some distant rainy day.
Then I had to get a job…
Now, many years later, I have dusted off that jar of penny-thoughts and am using them as my tools to create fantastical compilations of human and machine, classical and industrial. There is sound structure within my pieces but they rebel against what we see as reality.
Captivated by the idea of alternative perspectives I want those who inspect my work to see the beauty of form and be intrigued by the mechanical foundations. I want the viewer to be drawn to the illusory patinas and mechanisms – to walk the line between dream and reality and experience the loss of humanity that technology has wrought.
My childhood tended toward artistic pursuits, drawing intricate copies of Escher and da Vinci, writing sonnets, pouring over books of antique arms and armor, dreaming of castles and cathedrals. Always in love with history and classical art I took images and memoirs of what I learned into my psyche – and they have stayed with me. It was as if I were storing these collections like pennies in a jar to be used on some distant rainy day.
Then I had to get a job…
Now, many years later, I have dusted off that jar of penny-thoughts and am using them as my tools to create fantastical compilations of human and machine, classical and industrial. There is sound structure within my pieces but they rebel against what we see as reality.
Captivated by the idea of alternative perspectives I want those who inspect my work to see the beauty of form and be intrigued by the mechanical foundations. I want the viewer to be drawn to the illusory patinas and mechanisms – to walk the line between dream and reality and experience the loss of humanity that technology has wrought.
