(Statement): Animals have played a huge role our spiritual, philosophical and theological life. In many cultures, animals serve the role of spirit-guider and helper. Anthropomorphized, the metaphor of the animal is use to establish certain roles, qualitative features and significances. These symbols often serve as a source of power and meditation, in the form of visualization as well as totems. Conceptually, these portraits aim to serve as a metaphor for my own identity and my own relationship to these animals.
“there will always be parts of us left unattended…” is multi-layered series, touching upon themes of the personal, the political and the spiritual. Dynamic overlaps establish a minimal aesthetic but a visual intensity of the manipulated image. This serves as a metaphor, in a sense, in reference to the theme of power and totem animals, emphasizing meditation, focus and calm.
Edition of 150. Enjoy this digital gallery:
(Statement): “the streetlights painted a portrait…” is an artist book of sorts, born out of a stream-of-conscious approach to art making and aims to touch deeply on the roots of sentiment, ripe with both an urgency and a nostalgia for things far too tangled up to place. This work touches on themes of visual abstractions in the context of a multi-layered image and in turn the infinitely layered image of our own consciousness. The combined result of this visceral chaos touches on themes of an urban snapshot, filled with the urgent panic of contemporary living. As well, this work addresses themes of memory, recognition, transparency and both visual and literal overlap.
The poetry is critical, serving a function in establishing a duality between the digital images and B&W text. The lyricism and rhyme scheme of the written work reflect themes of misplacement and metaphor. As role of metronome, the poetry plays both the role of mediating the images and well as generating a visual pulse. It is meant to serve as an alternative departure point as well as creates a narrative that contextualizes the series of digital images.
Edition of 10. Each print with vellum stanza is being distributed separately. Enjoy this digital gallery:
And possibly some more images…
I made this single edition artbook, in the Fall of 2009, for the sole function of wanting to draw or write over my prints. Coptic bound with a sheet of acetate covering every page, this artbook slash sketchbook hybrid was a wonderful fun and an inspiring experiment. To be repeated…
I know, I dug way back for this one. As part of the requirement in the Fine Arts DEC at Dawson College, I had to complete a final project for a final class exhibition. I made two different book, which merged a handful of zines that I had produced throughout my two years in the programme. None of those projects were part of course work or course requirements during my stint there so I thought it would be a relevant way to incorporate the work.
So let’s talk about those ghetto bookbinding skills. For some reason, I had never considered sew binding anything so this round-about way to reach a perfect bind went as follows. I silkscreened the cover of “The Interview Was Literal 2004-2006″ and “To Make a Long Story Longer”. After scoring the spine, I used bulldog clips to hold all the paper together and applied hot glue along the inside spine and as speedily as I could, shoved it into the spine’s cover. It was such a haphazard approach but it got the job done and surprisingly enough, the integrity of the book hasn’t been compromised too significantly over the years.
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