Bejewell on January 20th, 2012

From Quiet to Chaos, 2011
Crayon on glass, with drapery overlay
Interpretation/Critique: Clearly, the artist was trying to convey a sense of desperation and mayhem as one makes the transition from a quiet, self-reflective night to a day lived outside oneself, bringing all of one’s inner turmoil out into the light for the rest of the world to see. It’s a bold work, especially considering the dangers the artist himself faced in its creation, working in secret under the constant threat of time out.

Bunny Beheading, 2011
Found objects
Interpretation/Critique: This piece speaks out against the commercialism of Easter. A painful reminder of the tragic (yet ultimately uplifting) story of Jesus, the artist’s subtle message encourages the viewer to quietly reflect upon the true meaning of the holiday.

Le Tour Eiffel, 2011
Mixed media, sculpture
Interpretation/Critique: The linear quality of this work makes an immediate impact, as the artist juxtaposes a well-known tourist attraction against a faceless would-be observer of the world. The cross-contour lines create a visual flow to the top of the tower, but the jarring presence of a headless, unclothed figure and its precarious hold on stability remains the focal point. It is a study in frustration: making the long, difficult climb to the apex, only to find the hard-earned view obstructed by one’s own lack of vision and/or sanity.

Eggroll, 2011
Performance art
Interpretation/Critique: The effects of this bold exercise are two-fold: the audience experiences a sense of innocent fun through a the laughter of a child, while at the same time receiving a visual representation of the limitations placed upon that child by parental rule enforcement and societal expectations.

Barbie Body Gone, 2012
Found objects, plastic/cloth
Interpretation/Critique: This work represents the meaninglessness of everyday chores and the desperation one feels when presented with such menial, tedious tasks. A decapitated doll’s head is carefully placed inside the folds of dirty laundry; its sad presence conveys a sense of hopelessness, as a beautiful girl experiences finality inside a chore that can never be completely final.

Damages, 2012
Performance art, human form/bandage
Interpretation/Critique: There is a subtle macabre quality to this work, but the artist manages to convey the suffering without gory representation; the pain of the piece is tempered by a feeling of tenderness and care that transcends the work’s darker elements. Furthermore, the bandages’ brighter, more pop-art quality adds both confidence and whimsy, leaving the observer to feel sad, scared, loved and entertained, all at the same time.

Don’t Lose Your Marbles, 2012
Mixed media, leather/marble
The simplicity of this piece really draws the viewer in. The placement of the marbles into the couch rivets is a logical use of the existing pattern, and the color of the couch creates a warm, almost organic effect to contrast against the metallic essence within its folds. The artist is clearly taking control of the space here, and there’s a threatening tone to the work, as if to say, “Sit on this couch only if you want a marble up your ass.”

Soft Knob, 2012
Mixed media: wood/plastic/panty liner
Interpretation/Critique: This piece conveys a much stronger sense of uncertainty than the artist’s other works; it’s also more functional, although that may not have been the intended effect. The artist seems unsure of himself as he explores possible uses for this particular media. The softer elements of the liner balance against the hardness of the wood and metal, establishing an unexpected aesthetic effect but also creating a feel to the doorknob that is surprisingly pleasing to the touch.

A Day in Little Bean’s Life, 2011-12
Photographic collage
Interpretation/Critique: The artist’s haphazard approach to photography suggests chaos, drama, wonder, friendship, love and fun as he explores four different scenes from a child’s-eye perspective. Capturing elements of his own closely-guarded life, the artist offers a rare glimpse into his private home and his own unique perspective of the world around him.

Fuck You, Mom, 2012
Found object
Interpretation/Critique: This piece is the most bold of the series, and also carries the most obvious message. The sense of rage and revenge is powerful; there is no assumed facade as the artist responds to an imposed bedtime with a work that says, simply: “Fuck you, old lady, AND your stupid $350 glasses.”

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20 Responses to “The Artist’s Early Work: A Portfolio”

  1. My favorite has to be “Soft Knob”. I hope selling photos of the art will help pay for the glasses, because, DUDE. O.o

  2. Funny. I thought “From Quiet to Chaos” was really more of a historical piece depicting the world from the Big Bang to the Ice Age. It just goes to show how art can speak to us all in so many different ways. Riveting.

  3. Andy Warhol, where ever you are, eat your heart out.

  4. Ah, it would appear your budding artist is in the Band-Aid period. I miss the bathroom tissue sculpting era around here.

  5. OMG! WE had bathroom tissue sculpting too!! Only it was a mixture of toilet paper and soap and water. I think the piece was entitled ‘Snow’. As for this portfolio: impressive, both in breadth and interpretation. It leaves the viewer thinking: “Damn! I wish I had done that!” Soft Knob is particularly inspired. Are you accepting offers?

  6. I shall send you a picture of one of Boo’s fecal murals for you to critique the shit outta.

    Cause I think I know what he is trying to convey (I need to learn how to wipe my arse with ONLY TOILET PAPER) but I may be wrong.

  7. This is AWESOME.

    When I was in middle school, my neighbor came home one day to find her daughter (elementary school age) & friends roller skating in the street, delighted to have found the MOST EXCELLENT KNEE PADS EVER, totally perfect for skating, they just have this sticky strip, and you can put them right on your bare little knees and THEY STAY THERE and completely protect you for skating. YAY! These were the days when maxi pads were seriously maxi. My neighbor was mortified. I, on the other hand, was impressed.

    But no one had art installation descriptions of that little performance art masterpiece. You are inspired.

  8. I don’t know. I’m kinda digging From Quiet to Chaos.

  9. I am emboldened by the “Fuck You, Mom” glasses. His bravery in this piece is inspirational.

  10. Oh my Lordy, this is dang GENIUS. I laughed and laughed. Perfecto!

  11. I had to close my office door because the stifled sobs, snorts and laughter were echoing down the hall. Your artist is truly inspired. Amazing. Amazing.


  13. I almost spit my midnight snack all over my screen at Soft Knob.

  14. “Bunny Beheading” would make an excellent and appropriate addition to my own (daughter’s) collection of similarly themed works. I’m very interested in acquiring this piece. Please advise.

  15. I am glad that my kids are just now grown and gone onto their own lives, but I forgot those artistic moments. The concentration. The invention. The mess. Thanks for sharing.

  16. Love the whole show, especially the progression to the surprising climax of Fuck You, Mom. Worth TWICE the admission I paid.

  17. I respect the artist’s use of varied mediums. Time to book the child some gallery time.

  18. Barbie Body Gone speaks to me the most, personally. But I find the striking use of the pop art feature reflecting both bandage and bondage (to one’s culture) to be the most compelling.
    Good work.
    Both of you.
    May I recommend Zenni Optical? Their frames are cheap enough you can replace them twenty times. Sometimes a mom just has to give in to the artistry.

  19. I am looking for my ass…I just laughed it off…perhaps it’s in your laundry basket with Barbie’s head.

  20. Well, someone here is definitely an artist, but I’m not sure it’s who you think it is. Le Tour Eiffel wins for critique. :)

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