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Critiquing the life I lead parallels my individual creativity. Dually embracing studio practice, and academic research.   My investigation entails an attachment to the promise of creating art with an investment in knowledge and observation. I am obsessed with developing an aesthetic of austere beauty; exploring my capabilities with materials.

 

 I embrace the minimal. Seeing grace in the severely plain and dilution of excess, when conveying my ideas.

 

My guided studio practice has consisted of two, three, and four-dimensional examination. Adverting these focuses implies a diverse interest in breadth.  This awareness leads me to finding the beauty of consciousness within theory and criticism, while correlating my discoveries to artwork. As a clear and concise thinker, I am able to efficiently work between the implied as well as inherent make-up of the world we live in.  Simultaneously making advancements in trend and thought, yet acknowledging and referencing history.

Recognizing past/present artists, their subject matter, and presentation, a permanent trend is: projecting to the largest audience, descrying, as they are part of the process. In this manor, artists evolve through intellectual interactions with themselves and others, using art as a language to create a dialogue. Practicing this observation, I consistently have a community of interest motivating my practice.

Intertwined with varying definitions of family during my youth, I became prone, yet numb to the co-existence among others. Searching for legitimacy as an excavator of development, I became loyal to cultural implications. Changing my communicative behavior I resort to technology for a basis of interaction. Allowing me to locate a defined audience which who will comprehend my work, or blindly appreciate.

  My worldly audience is obtained via the Internet. As a substructure of social interaction, physical interaction is lost. I devote time to sharing artwork and myself with others through “blogging” and digital dialogue concerning practice and myself. Yet, the current community has no longer become engrossed by the direct collective observation, and has been situated to obsessively, privately, hoard the developed ideas. I believe expanding ones mind will thrive upon interactive exposure. Doing so via the Internet and physical presentation drives me to destruction of the fourth wall. Confronting the dissolution of human interaction and brining my detached experiences into my physical realm.    

 

 

Behind the medium is the individual who makes the art, alluding to my intrigue of theory and myth; my current investment in the digital and physical artistic community is as follows:

 

The desperation to achieve perfection has jaded generations by encouraging the   standardized form. Breeching this stigma, I question the conscious and subconscious philosophy of influences created by outside sources. Having an attachment to such extremes allows myself to strive for a center of thinking; I draw from levels of awareness, apt to absorb the mental and emotional outsourcing of others, and channeling it into my own output. 

 The social detachment of honesty, conditional fear, sexual awareness, and self-love are addressed in my works. My compulsion to achieve must be channeled, not saturated. Devoting this intensity towards   cultural literacy and artistic creation allows for expression through practices of text, vocalization, and the physical. 

 

I shall continually test my limits, question my opinions, and be challenged on my beliefs.

  

In the history of the entire world, there will never be another me, it is time I explore all there is to discover.