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
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.
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.
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
Interpretation/Critique: 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
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
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.”