MICA Competitive Scholarships Fall 2013

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Self Portrait
2013

By combining 100 photographs of myself and converting them all to CMYK, I was able to determine which of the 4 colors dominated my life throughout those 100 photographs; that color is presented as a full print in yellow.

32in x 30in
Print combined with photoshopped photographs

Tension
Monoprint Collography Series 2013

Tension binds things together and pulls them apart; an emotion and a force. These collagraph prints explore tension in a purely fundamental approach. Line, color and contrast play with and create the balance needed to visually depict the pressure and strain that is tension. Each print portrays tension in an abstract way, in order to create a grade of independence from existing visual references.

Tesnion 2: Triangle

all 1/1

all 15in x 14in

Tension 3: Mixed

all 1/1

all 12in x 7in

Borders
Monoprint Collography Series 2013

Rejection of traditional printmaking borders.
In line with my opositional defiance disorder I decided to reject traditional printmaking borders and see how I could break them while staying within the confines of printmaking.

all 1/1

10.5in x 7.5in

American Idolatries

Screen Print Series 2013

The white picket fence is the icon and epitome of the American Dream embodying freedom and independence. The fence stakes your claim to ownership of happiness and a fulfilling life, achieved by creating a socially identifiable barrier between the public and private American life; “public” being civic responsibility and engagement in American social institutions, and “private” being the nuclear family life, places of worship and individual social capital. In each print, the white picket fence is mostly kept intact, while the house behind it is broken down into shapes and colors. This is meant to unmask the propaganda that is the American Dream, exposing the disjuncture of a harmonious family life.

all 1/5

5in x 3in

Rebuild America
2013

Nowadays, instead of dreaming to own a home, the American people are dreaming of being debt free. These posters are meant to point towards one problem our society faces today, while including the bold format of the Work Projects Administrtion (WPA) posters used in the 1930's. The WPA See America campaign posters sparked an interest, considering that in the years the WPA posters were used, people didn’t want to see much of America. I chose to depict crumbling homes from Detroit, Michigan and Brownsville, Texas, because of their currently poor status. A fundamental color scheme of ‘dirty’ primary colors is used to point to how fundamental the idea of ‘home’ is. The posters dryly welcome you to yet another poor city. The call for help points the viewer to a group that bears a large responsibility in the current state of America. The posters fit into the categories of travel and tourism as well as community activities. These posters do not depict a specific event or cause, rather, they are meant to point out an issue that is often widely ignored. These pieces serve as a reminder that America has much work to do if it hopes to rebuild itself into a more sustainable dream.

Rebuild America Poster- Brownsville, TX

2013

Rebuild America Poster- Detroit, MI
2013

Sacred Spaces

Process based work exploring reflective 'Sacred Spaces'.

A Sacred Space - not necessarily physical - in which a person feels, secure, loved, not concerned, in control.

Trust Your Work

2013

Process- create a completely controlled Sacred envirnoment and let your body physically produce what it will without judgement. Finger paint blindfolded.

Acrylic paint on foam core

4ft x 2ft

What is a Mistake?

2013

Process- test your completely controlled Sacred envirnoment and let your body physically produce what it will without judgement. Finger paint blindfolded.

Acrylic Paint, chalk and charcoal on glass

2ft x 2ft

Keeping it Old School

2013

There is a growing population of people over the age of 50 getting tattoos today. I chose to portray this article through art spanning the past century. Within this time frame, tattoos went from being a symbol of violence and rebellion to being more accepted, and became mainstream in the 1970’s. Now, in our current culture, the generations that once looked down on tattoos are getting them. I captured this trend by integrating artistic cultures of the past 100 years at the entrance of a tattoo shop. The picture is made to appear “retro” as we see it today. The façade of the building has street art inspired by Warhol’s celebrity prints, however, the image of a young celebrity is replaced with an average woman from that era as she appears today. A sign reading “Read St. Tattoo” is reminiscent of something you might expect to see on the boardwalk in the 1930’s. Over all, this shows the art of tattooing, catering to all generations.