A reoccurring theme throughout my work is the relationship between aquarium tanks and transparent walls, as a social and political commentary. As I matured in age, a sense of rebellion grew inside as I began to disagree with certain standards that America’s culture holds dearly: the obligated respect you need to have for this land, the stigmatism that citizens have towards power, but above all, a need for a profit motive to survive. I disagree with the monetary value system that has been created in our society, as it leaves room for corruption and manipulation. This system of value is transparent towards everyday consumers, they cannot see this boundary without a sense of realization. This was my goal for this performative installation. The water tank acts as a parallel towards America, where there is freedom within the space, but it is contained and trapped. The color orange acs as a symbol for incarceration, which is why this is emphasized through the construction fencing, lit up cones, and the bronze color of the pennies. Having the pathway covered in pennies forced the viewer to not only make the decision to enter the space, but to disrespect this monetary system. This pathway was narrow in order allowing only one person to enter or exit at a time. The exit scene demonstrates a birth of a new identity, after suffering within this particular space. Draining the space afterwards acts as a diminishment of value towards the water tank and contemporary culture. The attire of the orange hoodie, black nikes, and barcoded mask are symbolic for illustrating my imprisonment within our current society, but as a more realized human being. The person inside the tank is not the same person who exited it.
N.O.W.
Site Site Specific Video Performance
This performance questions the identity of figures made into statues, while paying a respect to them in a way to create meaning. Across the country we see statues of typically the upper class bureaucrat, standing on land that was once utilized by Native American tribes. It is site specific in the sense that it took place at the statute of Pedro Melendez in St. Augustine, however it uses this site to steer the viewer of questioning the identity of statutes around them. The idea of brushing off the shoes of this statute enhances the power that this figure had and continues to evoke. History books recite a narrative that sites such as Mount Rushmore are iconic landmarks in America, however they are carved into sacred land once belonged to native tribes. As a student in 2017, this performance illustrates the idea of contemporary power. The power of institutions, wealth and corporations. The power of establishing identity only for the profit of one’s self. Earning respect in our current landscape is based off of a value system that has been corrupted. Statues are permanent, worshipped symbols of power. Who was powerful, who gained respect, and who established their power. This performance questions the burdened respect that statues demand.
Spell of Sensuous: Chapter 7
"Air" Found Object sculpture consisting of metal rods, pair of shoes, ritz cracker box, and fan.
Spell of Sensuous: Chapter 6
"Time & Place" Video
Spell of Sensuous: Chapter 8
"Nikes" Sculpture consisting of nike shoes, black sweatpants, and a printed out piece of paper.
Spell of Sensuous: Chapter 4
Digital triptych collage printed on scientific encyclopedia pages. Images were systematically researched.
Artificial Roses
Three foot tall sculpture placed in ground at Palm Garden on Flagler Campus.
Petroleum
Projection of Video piece on top of aquarium, milk bottle, and previous mixed media work from a collaborator.