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ARTIST STATMENT

My art plays with the juxtaposition of images. In combining images that have no previous relationship, I change the story line of individual pieces and create an alternative narrative. The majority of my work involves two types of images:  vintage photographs and classic masterpieces. Most people are familiar with these forms. By using such common objects I am able to engage the audience with recognizable images and invite them into my work. I believe that most people view artwork at a glance, from a distance. I want viewers to explore my work.  My art beckons viewers by dissecting individual images and then weaving them back together on multiple layers of glass. With the addition of optical lenses and lighting techniques, I am able to highlight aspects of the work I want to exaggerate while hiding other features. This technique also gives my work dimensionality, making each piece change when viewed from different angles and pushing the viewer to move around the piece in a voyeuristic fashion. Through this thorough interaction with the work, viewers discover little nuances in each individual image and their juxtaposition reveals a new alternative story

By inviting viewers to explore classic masterpieces blended with vintage photographs, my art compresses art history into a small theatrical environment mounted on a wall. This mode expresses my theory that all art is built upon the art that has preceded it. For instance, the use of classic art is meant to represents a moment when the medium was at its peak, a time of explosion in techniques and ideas. In contrast, the antique photos represent the birth and innocence of a new medium. The public had not yet accepted photography as an art form and the artist was in a moment of complete experimentation. Even so, I see thematic and technical connections between these early photographs and more traditional classic paintings that predate the photos by two or three hundred years. Yet these two mediums forged a symbiotic relationship, a relationship I capture and interpret. After all, while early photographers did not influence classic masters, they certainly have influenced later painting. In fact, these pieces do not simply connect early photos to classical masterpieces. The new arrangements also take into account the various movements that have happened over the past century and that have had an influence on me.  From dada and cubism to the combines of Rauschenberg and the paintings of Bacon, I include subtle gestures to each of them.

Gallery Exhibitions

2021, “Brokedown Palace” (solo)

Select Solo Exhibitions

2017

55 Bellechasse, Paris France


2016

“Three Sided Dream” University of Maine Museum of Art, Bangor, Maine


2012/2013

“The Origin of Originality” Kavachnina Contemporary, Miami Fl


2009

Dale Nally Gallery, Miami Fl


2008

“Lost Luggage” Vero Beach Museum of Art, Vero Beach FL


2006

Damien B Art Gallery; Art Basel, Miami Fl

“Time Capsules” Jacksonville Museum of Modern Art, Jacksonville FL “


2004

Carousel Art Space; Art Basel, Miami FL

Miami Beach Cinematheque: Art Basel, Miami Beach FL

“Ravage” Damien B Art Gallery, Miami FL


2002

Kracer Art, Miami, FL


1998

The Pentagon Gallery, Cleveland OH

 

Select Group Exhibitions

2018

“locals only” Dianne Lowenstein Gallery


2015

Exposition en duo, Galerie 55Bellechasse, Paris, France

Art Southampton, Hamptons, USA 55 Bellechasse Galaria

Art Miami NY, New-York, USA 55 Bellechasse Galaria

Scope NY, New-York, USA 55 Bellechasse Galaria


2014

Art Miami Kavachnina Contemporary, Miami,Fl


2013

Art Miami Kavachnina Contemporary, Miami,Fl

Art Wynwood Kavachnina Contemporary, Miami,Fl


2012

Art Miami Kavachnina Contemporary, Miami,Fl


2011

Burst Art Fair, Sforza Art Projects. Miami Beach, Fl


2008

Madison National Juried Show, Madison GA


2006

Art Center South Florida, Miami Beach FL


2004

Octopus Gallery, Miami FL


2003

Bake House Art Complex, Miami FL

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