My art practice examines the influence of colonial, post-colonial, and neo-colonial methodology on the ways in which we view both art and the merging of cultural ideologies. Mining information from libraries, museums, and the Internet, I challenge the male biases (specifically white male biases) of cultural institutions and curatorial perspectives that in the face of an ever-growing heterogeneous society, still adhere to the application of Black/White and Male/Female paradigms of race and gender in the evaluation of the historical and cultural significance of people and objects.
My artwork attempts to disrupt the normativity of whiteness and the social myth of male superiority reveling them as strategies of authority rather than authentic or essential identities. Consisting of sculpture, digital print, paintings and drawing my work often incorporates didactic text and queues; imitative of interpretive/educational display and text often found in culturally diverse exhibitions and often used to emphasize the exhibition curator(s) credibility as a cultural authority. The accompanying authoritative queues carry varying and uncertain levels of authenticity questioning authorship, authority, ownership, and the politics of “information”, “visual”, and “informational display” literacy.
I incorporate Biomythography as a studio practice in order to challenge and inform art history, display, anthropology, identity, and ritual as well as personal, universal, and institutional perspectives. Biomythography (as defined by Audre Lorde in her seminal piece Zami: A New Spelling of My Name) asserts that analyzing, evaluating, and reimaging history while blending myth and epic narrative can assist in the shaping of theories of intersectionality and highlight the idea of internal, external, and multiple selves as well as personal, universal, and institutional perspectives and histories.
Similar to Fred Wilson’s “Rooms with a View” I play with museum and gallery norms such as pedestals, sound, lighting, and labeling to expose the visual and spatial characteristics that frame audience’s interpretive understanding of displayed objects and their relevancy. Multi - mediated and interdisciplinary platforms are used to investigate, further define, and express the complexities of experiences with which we define ourselves in a post modern world.
Considering objects as time capsules, holders of the world’s communal and personal histories I create objects with varying degrees of both modern and ethnographic aesthetics hoping to skew the lines that separate fine art, decorative art, and anthropological artifact.
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