Food is the primary medium to connect to the viewers’ corporeality in my work. It’s ability to be at once both sensual and revolting is a direct result of its connection to the mouth, the stomach, and the mind.
The images I use in my collage are taken and altered from still lives I build in my studio and allow to rest in their decomposing juices. Velvet and hair-like molds encapsulate swaths of the construction, and flesh and innards alike sag.
Additionally, the subject becomes the object and directly useful in the creation of it’s own image. Jars of organic dyes are created from rice, berries, bark or freshly bleeding beets. The still life itself can grow and seep upon the paper, spilling its insides and drying in muted pools or sticky clumps.
Organic materials, combined with digital images of a visibly aging subject, synthetic pigments, and other drawing materials, create a space in which it is difficult to determine what is what. Is that the guts of a fish, or the seeping sores of human skin, or the bitten inside of a peach? Is that paint, or the slowly cooked juices of a deep black rice, or wine, or blood?
The resulting work is the product of a very natural and real process- decay, presented through a very constructed and theatrical lens. The images are at once familiar and unfamiliar- experienced, seen, and thrust into the imagination.