Here the artist resembled a sunset with the numbers 316/ 34. Here he plays a game of numerology, if we add the numbers on the sides we get 10/7, a date! On The 7th of October when the artist was 34 years he lost his best friend on a street fight, on the street that he lived in. He was never going to walk that street in the same way, never again. A few days after as he walked home watching his feet as he walked, he looked up and saw the most beautiful sunset he had ever seen, he knew it was his friend saying “hey dude, Im here, its ok”. And the next two months he lived a very deep grief that changed his life in a beautiful way, a 180 turn, he changed his way of live completetly, by new years eve he was a totally different person. 365 (days in the year)- 316 (the numbers which also add to 10, october) = 49. Almost the amount of days that took his methamorphosis.
WITH CREDENCE WE MODUS
The artist has drawn a pulled spring that crosses a spectrum of the building. The decision to draw the spring horizontally and not vertically questions the purpose of a spring that has been stretched, calling into question the inherent tension of the image. This is further complicated by a spring as drawing, not sculpture. Here he is trying to express how we always want things easier in life, how we take pathways that make us feel like we are jumping processes when it may be completely misguided. Sometimes a spring can help us jump high but there are processes that you have to go through in life in order to learn.
Memories of the artists childhood are used as inspiration for this piece where their imaginative aspects are both suggested and inherently, inevitably elusive. Calling back to one of the artist’s earliest memories, hiding under the kitchen table and gazing up at patterns and scratches in the wood that would both form like clouds into specific symbols or other times take on a mythological significance, the memory took on special poignance due to his creative aspirations and that the imagery could never be viewed the same way again, that privileged perspective of a child that cannot be returned to, and here those same images are displayed in plain sight, for any eyes, but without their special significance or memory driven meaning.
This evokes the fleeting nature of human moments amidst a sense of physical, almost architectural permanence. When the artist worked in construction and made deep affectioned bonds with co-workers. Time had its own, unreal systems, with hours of monotony blurring into a single moment and memory selecting only those human interactions of cIgarette breaks and coffees accumulating into the real experiences that accrued meaning from that time. The stack of collected cups calls to mind that such moments are valueless if not shared, and that in such context, nothing is really trash.
STRIATION AND BAIRN
This is a meditation on perspective both in form and content. It is a sideways closeup of the striped shirt of a baby, with a little of his belly showing. There is a baby sock resting on him and a mark of chocolate. The artist got this idea playing with his one year old, full of life and energy, and was inspired by the power of this impression on him- Just as our brains are wired to instantly recognize a face even with the slightest visual cues, for him this image is instantly recognizable and powerful, and he is exploring how far this can translate to an objective audience.
Passion and profound attachment are here displaced into a form utterly sterile and functional, yet with an inescapable playfulness- the piece is a tribute to the artist’s beloved Weiner dog, with special meaning in that the notoriously playful dachshund was purchased as a test to examine if he was capable of being a father figure. The artist had him for 5 years, after a year of dating his soon to become wife, one morning she announced she was pregnant, and sadly, that morning, inexplicably, Rufus had passed away. The two totally contradictory feelings inspired the artist for this piece, and also compelled him to Name his son Rufino.
REMINICENSE OF APREHENSION
The process of clocking in to work, represented here by an expectant plastic bag awaiting its function, speaks to many of his key themes- His personal memories transposed out of context of the personal into the objective, to be reinterpreted subjectively; the transformation of space by expectation and cues, here arousing a sense of functionality in a place where there is none; and the questions of an unfinished story.
The artist’s wife stoped breastfeeding Rufino quite late. By the age of three, after some complex, irresolvable and deeply personal debates, the artist and his wife decided it was enough- this process of transition of both real and symbolic nourishment and tenuous separation from security, became one of the most difficult process the artist has observed. The piece speaks of the love of a mother not wanting to share for the an idealised concept of ‘good’, and a little boy who doesn’t understand the change and takes it as a lack of love.
COBALT GONFALON CARDINAL GONFALON
Something about race in his childhood.
The commendable and the atrocious
Moral decisions in his childhood
THE MAINSPRING OF CONCEALMENT
The artist has created a remarkable optical illusion that speaks to identity and artifice. Copying the texture, color, and material of the actual painted building, the artist has then recreated a section and constructed the appearance of it peeling off and revealing a false later of paint and foundation, one that never really existed. In the same way, people can often reveal something deep of themselves, creating the feeling that you are learning their depths, when really it may only be hiding a deeper artifice, or more layers of false identity under the guise of openness. The artist refuses to share what personal experience has inspired this work.
This unique piece highlights the artist toying with intent and communication. An introspective and withdrawn boy, his childhood was marked by time alone in bed, in contemplation, as time passed by. For him, this piece was designed to take advantage of his unique emotions with an awareness of the universal- He cannot view this image without thinking of his lost childhood, his lack of the conventional playfulness it evokes, but also presents it knowing no one can know his feeling, his interpretation- There is something inescapable in the trapped, once used balloon that speaks of the fleeting moments of childhood, but his are his own.