My work portrays the raw and sensual objectivity of the body. The body is an elaborate mechanism, which gives the brain life. The two together allow for an experiential perception from the viewer. Bodies are commonly romanticized as a singular entity in painting. Human beings are unable the approach anatomy without the implication of the sentiment or subjectivity, i.e. the “me” or “you” of personality. Because of the inevitable tendency for people to directly relate to a figurative painting with their own physicality, implications such as these can be stripped from the body (and perception) through death, so that the body can be experienced in a different context. Death lays bare the inanimate object”ness” of the body—no less pliable than silly putty or cookie dough.
In this transformation of the body, I intend to take advantage of the characteristics of paint to directly express the visceral vocabulary of flesh made real. This vocabulary of the medium will allow the audience to have a dialogue with paint as a material in a non-sentimental, objective way—opening up the arena for a new conversation about life and death. I’d like to have the paint capture the luminescence and texture of flesh using grave and dramatic lighting to heighten the confrontational aspect of the subject while still paying homage to the classical “painting” tradition.