My recent work investigates inflatables as painting, sculpture, installation and performance costume. I mine the language of painterly abstraction, monumental sculpture, slapstick humor, and pop art to transform mundane industrial materials into inflatable painted sculptures and performative props.
I work within a deeply feminist critique of the contemporary art world. I use humor, acidic color, obnoxious scale, and absurd pop-culture references to challenge art historical precedence and current art world power dynamics. My work is particularly invested in exploding the structural possibilities of abstract painting, expanding the kinetic possibilities for monumental sculpture, and enlivening the dialogue around contemporary art across class, gender, age, and education. I am interested in creating democratic access to contemporary art by utilizing a deliberately egalitarian and generous collection of humorous and formal entry points for multiple communities to engage with my work.
I am interested in the assumptions and history of both painting, performance, and sculpture. I create objects that engage in intellectual play, testing the boundaries and expectations of each medium, while exploring the possibilities of low-brow, mundane, unconventional materials. I am interested in how objects "look" as opposed to "how" they are created i.e. the appearance of abstract painting visualized through industrial materials and monumental sculptural form. I combine expressive painting in opposition to the linearity and the rigidity of adhesive tape and stencils.
I have explored many approaches to get at my desire for this conglomeration. In so doing, my work with inflatables has been the most satisfying. I find the inflatable form compelling, as it exists in two states: both as flaccid skin and taut volume. I think of the polarities of form within these objects as metaphors for our bodies: inhaling/exhaling; taut/wrinkled skin; flaccid/erect organs etc. In addition I am interested in how a body can activate sculpture, and how the ÔpropÕ abstracts and extends that body. I think of the scale and weight of the object when carried as a reference to a turtle carrying itÕs home or to Atlas carrying the world: a metaphor for the responsibilities we bear. So labor, ritual, endurance, and humor are also important components in my work.
Chicago Tribune, Winter Art Preview
Chicago Tribune, See It Now
Chicago Artists Oversized Work Exhibited
Chicago Gallery News, January 2016, Featured Artist
ArtNews, EXPO CHICAGO 2015, Matt Morris
The Creators Project, Vice Magazine
Yorkshire Art Journal
The State of the Arts
Corridor 8 Contemporary Art and Writing Journal
Yorkshire Evening Post
Looking at Painting Journal
Artforum.com Critics Pick
The Art Blog
Daniel Orendorff, frizzflopsqueezepop
THE Magazine, Santa Fe