I make works of art that function both as aesthetic objects and as prompts for conversations and philosophical inquiry. My recent body of work consists of small-scale collages made primarily from found newsprint paper, and of larger oil on canvas paintings derived from these collages.
The collages themselves are philosophical paradoxes: they are both fragmented pieces and (re)integrated wholes. As images that are also clusters of objects, they respect and defy the illusion of the picture plane. In light of these contradictions, collage can be seen as a metaphor for our understanding of the world, in that it mirrors the contradictory nature of our subjectively pluralistic and polysemantic worldview. It also brings into focus philosophical question about the nature of the part-whole (or the whole-part) relationship.
The difference in materials and the process of translation involved in making paintings from the collages also serves as rich ground for thought. In the collages, the use of free and discarded non-archival materials such as newspapers and other print media carries connotations of questioning the high art-low art divide, in line with the the “anti-art” sentiment of the collage makers of the Dada movement. The nature of newspapers as artifacts of the everyday also imbues the collages with a connection to the fleeting moment of “now.”
Paintings contradict much of the connoted content of collage, as symbols of permanence and as the epitome of high art in the canon of Western art history. My paintings unify the fragments of the collages into new cohesive wholes. Teasing apart the subtleties of what is gained and what is lost in the process of translational of modest collages to large oil paintings allows for mediation and conversation about the nature of translation itself, and the antithetical perspectives of change versus permanence.