Installation
Untitled
2015
I began to conceive of this work by thinking about materiality, layering, and using layered material to challenge modernist notions of flatness in drawing. Julie Mehretu's layered paintings helped me think about contemporary uses of layering and sparked my interest in how layers can be used to create and reinforce meaning in artworks. Because the practice of altering and covering primary marks with secondary marks demonstrates a degree of assertiveness by changing and/or reducing the impact of previous marks, my aim was to produce a layered work that does not only push back against a modernist emphasis on flatness, but also one that provides access to a comprehensive record of all of the elements within the work. In direct opposition to modernist drawing and painting in which works are created and altered through a jumbled, ejaculatory thrust of [usually male] "genius" decisions and revisions on a single plane, my piece allows my process to remain visible.
2015
I began to conceive of this work by thinking about materiality, layering, and using layered material to challenge modernist notions of flatness in drawing. Julie Mehretu's layered paintings helped me think about contemporary uses of layering and sparked my interest in how layers can be used to create and reinforce meaning in artworks. Because the practice of altering and covering primary marks with secondary marks demonstrates a degree of assertiveness by changing and/or reducing the impact of previous marks, my aim was to produce a layered work that does not only push back against a modernist emphasis on flatness, but also one that provides access to a comprehensive record of all of the elements within the work. In direct opposition to modernist drawing and painting in which works are created and altered through a jumbled, ejaculatory thrust of [usually male] "genius" decisions and revisions on a single plane, my piece allows my process to remain visible.