Poems without words.

A Study of Vulnerability

Through this recent collection, I practiced an exercise in revision.  I altered my paintings, not only through the layering of paint and pigment but also through the reintroduction of the concept of the Past Me returning to the foreground, empowered and reimagined. I realized this through the act of sanding: I sanded my canvases to generate abraded imagery, conserving only certain areas — figuratively, the parts of my identity I wished to preserve. Most of these selfies were taken during personal and profound moments in my life. On social media, selfies are typically associated with narcissism. Instead of glamorizing my life with the traditional selfie, I’m doing the opposite.  I’m taking my selfie for self reflection and to ask myself how I got in this situation and see what it looks like. I am vulnerable and lost as these massively emotional incidents in my life happen, so I turn to the selfie as a way to discover who I am. 

Mark.

“In my artwork, I begin with a photo — a selfie — of a particular event or time in my life. When I am ready, whether that’s the next day or several years later, I turn it into a charcoal drawing.”

Translate.

“Next, I translate that charcoal drawing to a much larger charcoal drawing on paper or canvas. If on canvas, it evolves into an oil painting with many layers and alterations, or, it becomes a fast moving painted sketch.”

Grow.

“In each painting, she starts to take on a life of her own: She does not resemble the Past Me, but metamorphosizes into the new me, a me of color and depth and light.”