"Recess" is a series of objects found in a thrift store and painted in enamel and adhered to the wall.

Recess

Fixtures establishes a symbolic relationship between my family’s experiences and the socio-economic realities of 21st century blue collar workers. A broken porcelain handle my father excavated from the leveled American Standard plant becomes his surrogate. It is surrounded by 200 digitally fabricated PVA and porcelain replicas that were produced as stand-in’s that point to the anonymous millions that share his experience of displacement. Each copy is manufactured through the automated processes of 3D scanning and 3D printing, technologies frequently used in present day manufacturing. When combined with the original, these newly minted artifacts erect an abstracted, piecemeal, industrial ruin.

Fixtures

Medium:
Mixed Media on Canvas

Dimensions:
25 cm x25 cm x2 cm

Year:
2020

Description:
Encontros meaning "encounters" in Portuguese simbolizes the effect and consequences of every amalgamation - emotional or physical. Textures made out of heavy acrylic grow at every merge, emulating the reaction or outcome of these fusions.


Encontros

21 gauge annealed steel wire

64” x 60” x 5”

Better Half

12" x 12" acrylic and mixed media, framed

View from Above

Happiness and its Longevity

Inception

24” x 30”
Oil paint on canvas
2020

Many times “caring” actions will bring people closer together, but it can also make people uncomfortable with too much attention. In this series of works, Interpreting Discomfort , I discuss how much attention is too much? How is this feeling of discomfort formed? For the attention given by others, we all want to classify it as concern, but too much attention may become a kind of pressure. This kind of pressure which is hard to get rid of. In many cases, we can’t even be sure that this pressure comes from the others or our own overreaction.

In this series of works, a lot of hands, eyes and figures are used to express my concept. The unusual combination of hands and eyes to achieve the goal of horrible and stressful, just like how we feel in life sometimes. No one likes to be stared at by other people, and no one want to be pointed at by others. Except for hands and eyes, by including additional elements from everyday life: mobile phones, nail polish, mirrors, etc., I show that these situations can happen to anyone at any time. I use this series of works to discuss with the viewer the comfortable distance of interaction between people.

Interpreting Discomfort #1

Per Sonare

Acrylics on canvas
150 x 195 x 2,5cm 
2021 


9D3A BL K802Z 0176

36x24x1inches
Acrylic on cardboard
2017

I Love This Enchanting Old ruin

Snap

each layer is drawn separately on paper and photographed, compiled and rendered in 3D program

Statement
I transfigure what exists. I manipulate identifiable objects alongside crafted elements through a process of hunting and gathering, disassembling and replicating, reengineering and distilling. Through a historical lens, I focus on moments where the past and present compare and contrast one another. Using the history and essence of industrial ruins, I fabricate emulations of society and its overabundant remnants. By reflecting upon what happens when conceived materiality obstructs, disrupts, and interferes, a dialogue is started about our effect on and in the world. Through examining the art-object as a vehicle, art can act as a conduit to examine the evolution of one's self and understand our place in space. 



Sculpture 

“Liminality can perhaps be described as a fructile chaos. A fertile nothingness, a storehouse of possibilities, not by any means a random assemblage but a striving after new forms and structure, a gestation process, a fetation of modes appropriate to anticipating post-liminal existence”. Victor Turner
 
 
‘Betwixt & Between' is a body of work marking the transitional phase of 2020 and my experience of waiting to become a parent. 
 
Having recently moved to the coast at a time when my wife has been pregnant, I have found myself drawn towards images that seem to fall between two worlds as well as to the tides of feeling that my in-between situation has seemed to engender.  
 
This transitional period of being neither here nor there, but always in anticipation of something yet to come, has brought back memories of a recurring nightmare I had as a child of a dark, hairy figure in the distance on the beaches of Suffolk, reminiscent of one of M.R. James’ ghost stories. 
Recently this otherworldly figure of my past has become increasingly present for me and during my walks along the moonlit beaches and windswept cliff tops, I have felt it there, watching me.  
 
This experience has challenged my thinking around the extent to which certain images of our past might reappear at times of uncertainty. And this has led me to question if unconscious sensation can be made manifest in what we can see or envision, and ultimately what we can photograph. Exploring the unfamiliar terrain of my new coastal home with my camera has enabled me to seek out images of things that seem to hover as if on the edge of something. Uncertain saltwater forms, alien marine life and eerie night-time shoreline shadows, appear in my photographs unaltered and estranged.   
 
This year, for many of us, our experience of time has shifted, and like waves lapping on the shore, our pasts and futures have felt both more present and further away than ever before; boundaries of the real and unreal have blurred and we have all in our own ways, slipped from one domain into another, neither here nor there. 


Empty Chair, 2021  (Part of the series Betwixt & Between.)

Pocket Change - 2020-2021
This series functions as an accumulation of low-fi souvenirs collected throughout the city of Los Angeles while touring the interior and exterior shift in reality materialized by the pandemic. Walking miles and miles while pocket photographing for hours and hours served as a transformative meditation of sorts. A much needed structure and conscientious therapy. A fugue flaneur quietly moving through the streets with an obscure obsession, if you will. I became addicted to the hunt and grew a very specific fascination in curating pairs. Things you carry and collect, sentences you write and read, depending upon the chosen arrangement. Sort of like a mixed tape from someone you know but have never met. A somewhat sentimentally subjective sensory experience with a sing song scratch. 

Untitled, Pocket Change Series

Oil pastel, acrylic and charcoal on canvas
24x30cm
2021

Vote for Me

Ophelia is about power, and loss of innocence. Each flower represents a part of the story, inspired by Ophelia in Hamlet. Pansies (whose name is derived from the French word pensée, meaning “thought”), fennel, a quick-dying flower symbolizing sorrow, and daisies, representing innocence. 

Ophelia 

a glazed porcelain sculpture

Medium: glazed porcelain
Dimensions:6" x 4.5" x 4.5"
Year Completed:2020

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