This one reminded me of something.
Work and Descriptions: Paintings, Drawings, Photography, Mixed Media
Friday, March 13, 2009
Sunday, March 1, 2009

5" x 7" prints, sewn together
To create a series of images in search of beginning and end, I first
constructed a dome to represent the earth out of plaster, burlap, various papers,
rubber, shellac, acrylic and oil paint. I then photographed different sized beads and
roving wool, printed the images, and sewed them together.

8" x 10"
Hand-dyed roving wool felted into canvas
For this felted portrait of my brother (holding a flood light from below), I
mixed fabric dyes to create his skin tones, dyed roving wool, and used a felting
needle to engage it into the canvas, except for the eyes.

Based off Henry Thoreau’s “Civil Disobedience,” I made a sign with a
standard, black representation of a figure walking towards a church and an organic,
more natural blue figure walking in the opposite direction towards a tree. They are
both trying to achieve divinity, represented by a dove at the top.
I made the sign for an English project about a year ago by spray painting
drawer liner and cutting out the images. For “Place of Punishment,” I used the sign
again to design a site for the handling of law violators. The idea of separating men
and women was also inspired by the film “Schindler’s List.”
Saturday, January 31, 2009
Monday, January 12, 2009
Works & descriptions (written for the SUNY Purchase application)
I used Tintoretto’s painting “Susanna and the Elders” to create my own
narrative and composition.
I used Ingres’ painting “The Bather” for the figure’s pose, and the subtleties in
his mark to capture form.
In this six‐ foot drawing, I juxtaposed my own figure with an adjustable
mannequin. Because I am changing its waist size, ideas about feminine self‐ image
are raised.
mannequin. Because I am changing its waist size, ideas about feminine self‐ image
are raised.
I photographed this with my grandfather’s 35mm Nikon on black and white
film, then developed it in a darkroom using a filter.

This is a triptych of three shots I took at M.I.C.A. I feel it conveys my eye for
color and composition as an artist.
This went through several stages. First I used makiage shibori and marbling
to make the light pink patterns under the purple dye. Then after embroidering and
patching some areas, I clamped and dyed it a bluer purple. More embroidery and
patching were done, and finally I stretched the cloth to stretcher bars.
I was unable to find a hanging cow I could paint from life, so I took the
picture myself by finding a local slaughterhouse and asking for permission to take
photographs inside.
The first of a diptych, I placed myself in the same scenario as the cow in the
second painting.
Initially I wanted to use realism to paint an impossible scene: myself
hovering a few feet above the ground. As the painting developed, my focus leaned
away from realism and towards creating a strong figure/ ground relationship
through color.
I did this close‐ to‐ life‐ sized self‐ portrait at M.I.C.A. pre‐ college this past
summer. I used a different approach to the paint because I was learning how to keep
my colors clean.
For this painting, I used pattern and a mark inspired from the German
painter Lovis Corinth. The complex composition was also a breakthrough in my
work at the time.
The Red Clip
Like “Blue Self Portrait,” this was also inspired from Susanna Coffey’s
portraits. “The Red Clip” won a Gold Key in the 2008 Scholastics Art and Writing
Competition.
portraits. “The Red Clip” won a Gold Key in the 2008 Scholastics Art and Writing
Competition.
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