In America, an individual often chooses to physically alter their body to manifest an internal identity to the external world. What are the catalysts in our environment and relationships that drive us to alter our forms? When I was very young, I did not understand the reasons that a person would change their body and assumed that it was for joy that people sculpted their bodies. I had no understanding of the cosmetic gaze and body aesthetics. I remember looking in the mirror and squishing my face into bizarre and odd shapes, inventing and planning out procedures I was to have done someday.
Along with my studies of psychology and medicine, I also came upon the discipline of neuroscience, and discovered that all of my questions went far deeper than I had ever imagined. I learned that these changes are not just aesthetic, but are happening naturally within our bodies on a cellular level all the time.
I have continued to explore contemporary neuroscience’s growing understanding of the mind-body connection. A connection where the body physically reflects and expresses identity and/or morality in the brain, and even further with how our environment and relationships to each other also contribute to the shaping of the body and brain. From studies of neuroplasticity I have learned that we have the ability to choose to reshape our brains and many other aspects of ourselves.
To show this in my art I focus on my implicit and explicit thoughts while drawing and painting. When I draw a person, I become aware of certain explicit memories and implicit sensations that person brings up in my mind. I will intuitively translate those thoughts/sensations into color, line and mass straying away from the person’s exact visual likeness. My illustrative style is both premeditated and spontaneous; the spontaneity of implicit and playful color contrasted with the anxious and tense use of line.
Themes of subject, object and voyeur engage viewers to take into account their role in viewing a work of art. Further involvement occurs when the viewer participates in forming an opinion of their individual experience. Active participation is a subversive commentary on Austrian Expressionism and Baroque Art that I question in my work.
I utilize a symbiotic approach to the history of painting and sculpture. In video I work to collapse space by blurring the boundaries of painting and sculpture, foreground and background via the lens of a camera. Using studies in neuroscience, I continue to investigate the connection and re-construction of the object, subject and signified as it relates to the studies of body, contemporary culture, its evolution and the mind.