gunpowder, acrylic, gold leaf, wood_ 36″x 48″x 5″
A new direction based primarily on some architectural theory I have been reading. I have been using this pattern for a while, but more recently the idea of architectural fidelity and the space it protects/forms have become something I see as a political manifestation. I am referring to it as the “politics of the void.” (2 previous works dealing with this topic are Incursion I and II.)
I have become interested in how much effort/power it takes to stabilize vacuousness, how architecture is part of the constructed stability of space and yet, interior design and temes tend to disrupt/distract the space itself to present a more socialized view of this power discourse. Dealing not only with the forces that attract towards the void, I have attempted to symbolize the restraining architecture, essentially highlighting the warping of space by presenting stability. The singed edges of the circle are a physical manifestation of this power, at once exploding outward, expelling, as the vacuum pulls discourse ever inward. (In black holes or gravitational fields they call this edge an event horizon, where escape is impossible.)
In many ways this is about interdependance. The forms rely on each other to create a dynamic form of tension, stabilizing on their own power and continual interaction. I am simply trying to visually represent this complex set of symbiotic forces.
* Since winter 2010 I have been painting a bright color on the backside of my works. This allows for a glow of color to reflect onto the wall in order to mingle with the shadows. It is part of “Attraction” but is also noticeable on “Fulfilling the Void“, “Disruption/Seduction“, and “Connected: Laocoon.”
500X Fresh Meat: College Expo
Jurors: Cris Worley and Erick Swenson
500X Gallery, Dallas, TX
Oct. 15- Oct. 31, 2011
published by D Magazine Front Row
Fun adverts, two hip art world jurors, and the 500x openness to experimentation has created an exciting college art exhibit. Jurors Cris Worley—owner and director of Cris Worley Fine Arts in Dallas— and Erick Swenson—international art star— selected 43 from 900 pieces, presenting a strong exhibit of what turned out to be primarily Metro-plex talent. Occupying both floors and resisting the “more is better” tendency, the show has a sprawling, spacious quality. The majority of pieces display a figurative inclination and graphic strength conveying resolved consideration, yet there are also several surprises including some accomplished ceramics.
Not surprisingly one work resembles Fresh Meat: chopped logs filled with silicon representing muscle, fat and sinew. Amputee by Rachel Muldez [UD] is an anthropomorphized and didactic reminder of our planetary destruction yet remains disgustingly, darkly humorous, overcoming it’s preachiness through craftsmanship and humor.
gunpowder, graphite, acrylic, wood. 
This is a continuation of a recent theme: re-purposing powerful or violent historical characters that have been immortalized in sculpture. This piece is especially poignant as the father struggles to free himself (and his 2 sons) from a serpent, which I have conveniently removed. Without seeing the deadly serpent the characters are fragmented, ripped apart by an unknown force.
Caroline Berger from “Art This Week” interviewed John Frost and I at Ro2 Art- Uptown during our exhibit “import“.
2 pieces I recently completed…
Culture Laboratory Collective exhibited at Box 13 Artspace, Houston, TX from Aug 6- Sep 10, 2011. “Response II: Noah Simblist” will be on display at Cornell University in Ithaca, NY from Sep 26-30, 2011 and at Slippery Rock University in PA in January 2012.
I curated the exhibit (or concept for the show.) For an outside influence I asked artist/writer Noah Simblist to compose a sentence from which we would make art: “I am writing this (self reflexive) sentence but it is writing you.”
“Thug Life: Hercules I”_ 2011
22×15 in, gold leaf, graphite, gunpowder on paper.