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A gentle and reasonable being can be transformed into a maniac or a savage beast. One is always inclined to lay the blame on external circumstances, but nothing could explode in us if it had not been there. (Carl Jung)
I am concerned with confronting the shadows of the unconscious, having a dialogue with the grotesque and, therein, discovering beauty. The tenor of my work is macabre and emotional as I deal with extreme axioms to dramatize the dualities of our nature; these polar aspects reside within us and include vulnerability and strength, the light and the dark, the human and the inhuman.
My intuitive process of working is rooted in archetypal forms; these salient images are often hybrids of humans and animals. Captivated by the hierarchies of the animal world, I contemplate the roles of both predator and prey. Contemporary society has its own hierarchy made up of class, gender and race; the less privileged remain on the bottom rung of the ladder.
An investigation of the unconscious mind and our inextricable link to the animal world may reveal certain truths about the human condition. Evolutionary theories and horror films also inform my work; the former teaches us survival-oriented traits, while the latter allows us to express our fears. Rooted in traditions of pantheism and superstition, the horror movie depicts a dark side of human nature. Mutated creatures, such as the ravenous werewolf, are created in the murky depths of our collective subconscious. These images provoke a psychological simile between animal and human, instinct and reason, the conscious and the subconscious.
The contrasts I explore exhibit a breadth of emotions that express our psychological and spiritual maturation. The emotions I’m concerned with are sometimes buried and inaccessible to most people. They include pain, fear and separation. Confronting these emotions can serve as a catalyst that melts barriers to our development. “Devouring Mother” is a piece where a dog’s mouth emerged from a blurred human head; it’s featured are soft and indistinct. The animal mouth symbolizes our need to express these stifled emotions in order to break free of a cloistered, dormant existence.
Materials also play a symbolic role in my work; the ephemeral characteristics of impermanent and perishable substances like rose petals and powdered pigments allude to the fleeting nature of the ego and the flesh. Other substances used are fired clay, expandable foam and glass. Their resilient and pliable qualities refer to the expansive part of ourselves. Synthetic hair and fur, flock fibers and clothing remnants further present the human/animal paradox; as Simon Critchley noted, “There is something charming about an animal becoming human [but] when the human becomes animal, then the effect is disgusting.”
This investigation reveals the honesty of humanity. Embracing all aspects of ourselves, taking a closer look at the “shadow side” of the human condition is my attempt to discover truth. This truth stems from acknowledging our imperfections and recognizing humanness (and dignity). Comprised of evocative, poignant layers of meaning, I invite the viewer to contemplate what it means to be human, to connect with a deeper side of oneself. |
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