watery settings, my recent photographs and drawings cast my own image as
a group of identical boys. These works address issues of age and gender,
self-love and self-hate, discipline and impulse, technology, religion and
science, all within a framework of homogeneity and mass production.
previous series of multiple self-portraits, the narratives in these works
no longer directly rely on setting to provide a clear interpretation of
the actions being performed. Rather, the aquatic
environments limit the viewer's ability to interpret the semi-artificial
world on display, an underwater world in which real people could not exist
for extended periods of time. Submerged in an underworld that soaks through
and covers everyone and everything, muffles sound, and blurs vision, the
uniformly dressed boys are reduced to anonymous, bloated figures floating
in a womb-like environment. This realm encompasses both playfulness and
danger.In "Pool Pushers," the division between these polarities
is made literal as
swimmers grounded on land gather around an enclosed circular pool to witness
a group of buoyant children being poked and prodded by long poles with
nets. Above the water level the onlookers sit in a scene of perfect order
and discipline, while below exists a world of confusion, playfulness,
impending doom. "Floaters" offers one possible view of the scene
from under water, as bloated nondescript boys float with the aid of floatation
devices in a playful drowning scene. Meanwhile, images like "Attack"
depict fully clothed figures entangled in an underwater current of clothes
This sense of foreboding tinged with playful fantasy is mimicked in a
suite of complex figurative line drawings on mylar. Androgynous figures
of indeterminate age float on top of and through each other in a layered
composition separated by planes of Plexiglas and semi-opaque mylar paper.
The ghostlike figures are caught in free-floating, awkward, transitional
states: sometimes their images are doubled; sometimes they seem like as
much animal as human.
Optically, the figures fade in and out of each other in a series of tentative
lines that read like traces of previous drawings and refer to memory and
transition. The figures' relationship to the water's horizon line seems
to shift within a single drawing. This horizontal reference point separates
air from water and reality from fantasy while it transforms the swimmers'
shapes and sizes. This shift mimics the play of light through water, seeming
to actually pass through the two worlds and to fracture the figure caught
These absurd predicaments strive to provoke conflicting emotions in the
viewer. Scenes which would normally appear threatening, dangerous, or
grotesque inspire empathy as well as fear, and ultimately are revealed
to be more complex than was first assumed.