This series of prints was developed and inspired by my binary perspective/experience while studying at University.
The Outcast was developed through my personal experience while attending college. The sheep's two heads is a symbol of binary thinking. One looking to the glass house, academia, and one looking outward to the rest of the world. The sheep is tall, out of place and feels torn between two worlds. It has gears placed inside signifying its proletariat roots. It wonders if it will fit in the glass house. The Outcast does have herd like tendencies and desires to fit in to this academic world.
In The Burden there is the same symbolism used here as in The Outcast. We see the sheep, glass house and machine gears. There is a non-traditional border to intentionally create some confusion about who is carrying the weight. But in actuality neither human or sheep is carrying the weight. Rather they are both pinned under the system with the probability of being brain washed.
The above is a simple drawing of what appears to be an institution. Below a factory where vellum, the device in which graduates would hold their degrees, is made from sheep's skin. The placement of these images is intentional. One being above the other and held in high authority. And below, the process of production being disregarded and often hidden away.
The Thinking Cap is a reference used in education quiet often. But what does it mean to ask that question inside of an institution? The cap creates an image of actually utilizing a cap from the institution itself. That sometimes there can be no original thought in a glass house.
This painting was done when I started to practice anthropomorphizing animals. This concept is something I had been fascinated with for a very long time due to my on going interest in the ethology of humans and the psychology surrounding that.
The Raven symbolizes an intelligent, mysterious, female creature who finds herself isolated through the cultural judgements about her sexuality, what she is and what she must do to survive.
We'll Always Have Paris
Here I have joined the bodies of Perez Hilton and Paris Hilton. One a columnist, the other an heir to the Hilton fortune. Both are merely television personalities and relevant in terms of pop culture. The importance of these people and their contribution to society as a whole is minimal. Yet, the obsession and perpetual support of their popularity seems to persist. It all seems too surreal at times, hence the playfulness and silliness with the subject matter. The title is suggestive of the notion that we will always have these talentless personality types consuming mass media.
The unicorn has been used as a symbol of purity, youth and innocence throughout the ages. It has even been seen in biblical art as a symbol of the Virgin Mary. The unicorn here is flirty and innocent all at once with her leg sticking out and her chin coyly facing down. The lettering is meant to have a Disney feel. And what it says, "You're Just Too Pretty To Be Gettin' Naked", is a sarcastic remark in regard to the concept of the Virgin Mary and immaculate conception.
Some Body #1
This piece was inspired after reading a story about a group of adult entertainers whom were being harassed by a local church in regards to their profession. In return, the group of women went to the church and waited in the parking lot in scantily clad attire holding signs saying, "Our Hearts Belong To Jesus Our Bodies To The [name of establishment]". I inserted "The Stars", rather than the name of their establishment. The message is meant to express the idea that one can still be "good" and "pure" at heart, while still choosing what to do with their bodies. The sheep is a symbol often used in religious imagery as being pure, she even holds the image of the sacred heart all while being dressed for show.
This print plays with imagery of the female figure and the "Y" from the Hindi word, Yoni, which refers to the female genitalia. The title and image of three female figures work together to express a proletariat notion of female comradery and togetherness.
This was the first woodcut I had competed using the reduction method. I decided to use the Space Needle in this image. I refer to it in reference to Seattle being my ex (lover). A place for which my feelings had slowly been reduced over time.