Endless, Endless is a multidisciplinary series comprised of oil paintings, ink drawings, relief and intaglio prints. At the heart of the series is the subject of war. What does it mean for a nation to wage an endless campaign of war? What costs are incurred for the nation waging that war? What are the physical, emotional, psychological, and financial effects to all persons involved? Is war inexorable or is it possible to end endless war? The series attempts to render all the above and more.
The Hunter and The Hunted, 66” x 48” x 2”, oil and wax on aluminum and linen on panels, 2009.
The future? – Tense.
Policing of Dreams, 49” x 69” x 2”, Oil and wax on aluminum on panels, 2007.
Immigrants brave desert borderlands. Mariachi bands traverse restaurants. U.S. soldiers can’t tell of their love for their same-sex partners. Iraqi soldiers attempt to hold their country together in spite of occupying forces. The clock ticks on. Opium poppies grow taller and taller. And the Blackhawk helicopter pushes forward. Dreams of a better life. But are some dreams more acceptable than others? If we can’t speak of our dreams, what do we have?
No Barbarians Allowed, 49” x 69” x 2”, oil and wax on aluminum on panels, 2008.
Close the borders! Electrify the fences! They are tainting the culture. Inspired by J.M. Coetzee’s novel, Waiting for the Barbarians, this painting is a rumination on the frightening rise in racist and xenophobic hostility and fanaticism as to who qualifies as a “real American”. When globalization begins to erase national borders in the service of corporate “free trade”, what does it mean to be a “citizen” in the twenty-first century?
The New Rome, installation, dimensions variable, 2009.
From a distance, the work gleams richly. Its folds of silk organza are soft, their embroidery finely worked. The robes are floating on air. How lovely. Draw nearer. It becomes apparent the fabrics are locked into place upon a support of metal, an armature. Look again. Now the viewer can see the embroidery fixes X-acto blades onto the silk. In the backyard of the phallic tower lie the markers of U.S. imperial encroachments in Latin America. Beautiful and horrifyingly dangerous.