Mountains capture hearts and make spirits soar. Created through stress, collision, eruption; they stand erect, magnificent to behold. An aesthetic treasury of depths and contrasting heights, they lift eyes to see the rays of heaven's light reaching down to earth.
Inspired by my surrounding landscape of the Blue Ridge Mountains, my work presents a metaphor between the narrative the mountains present and our own stories. The Mountains Declare series invites viewers to see beauty amidst the pressure and turmoil of life.
In the same way mountains gain stature and dimension during shifting and unstable conditions, people develop character and personality through changing and unpredictable circumstances. Mountains withstand extreme heat, violent eruption, and tremendous force while man endures unbearable pain, severe loss, and overwhelming challenges. Yet what remains are awe-inspiring mountains whose greatest heights, when touched with light, become a vibrant array of dazzling brilliance. Beholding this sight, we are left with an unconscious question, wondering what secrets of beauty might be hidden in the midst of our own dishevelment. Timidly, even fearfully, man makes himself vulnerable to light’s invasive arms. And in the blink of an eye, all shadows are dissipated. Trialing moments are transformed into treasured monuments as the ability to see beauty everywhere is awakened like the dawn of a new day.
Consistent in this dialogue, the process of my work begins by pounding and stretching and rolling the clay. I then fit pieces together, cutting and slicing and bending them before scoring each joint to ensure a lasting bond. As I work, I delight to see my wounded pieces fitting together to form something whole. The ceramic firing process also hints at the heat and volcanic eruption used to form mountains. Likewise the resulting volcanic soil, rich in nutrients and new life, gives inspiration for my glaze palette which displays an advancement of vivid colors cascading over each crest.
The Mountains Declare series exhibits a dialogue between mountains and man and the ability light has to expose the beauty in the stories of each. It presents a challenge of vulnerability intertwined with a promise of hope.
Heart Series - Fine Art Prints
True Fulfillment - Ceramic Sculpture
The purpose of this work is to portray human search for fulfillment. Whether consciously or unconsciously, people strive to satisfy their emptiness. Scripture explains why people have a void and how those who seek fulfillment apart from God will remain empty. The vessels in this body of work represent ways people seek fulfillment.
Because human beings can more easily identify with structures that reflect human characteristics, my use of anthropomorphism, the attribution of human characteristics to non human forms, strengthens my communication with my audience. The vessel's historical significance in representing people builds credibility for ceramics in the realm of figurative fine art. At the same time, the negative space within a vessel also allows me to visually emphasize the void within a person.
In agreement with my choice of form, my choice of materials is symbolic of humanity. In the same way human life is mortal and easily destroyed, clay is temporary and fragile. Made out of the weathered particles of solid rock, the nature of clay symbolizes the fall of humanity from a place of solidity in relationship with God. The process of molding and firing clay can be compared to the process of life. In the same way clay in molded and fired, humans are formed inside the womb and then birthed into existence. Just as humans are free to choose with what they fill their lives, each of my vessels has chosen a source of fulfillment. Yet the porous quality of clay causes each vessel to carry the consequences of its decision. The source of some vessel's fulfillment caused them to become stained, polluted, and eroded, abandoning them to further emptiness. However, the vessel that looked to God received complete fulfillment.
Using the existing metaphors of the vessel and clay, I have represented people's attempts to fill the void within their lives. These, along with structural anthropomorphism and narrative qualities, direct the viewer into the context for conceptually understanding my work. While the vessels which did not turn to God remain empty and impure, the one that responded to God received fullness and righteousness. Ultimately, my work shows that God is the only true source of fulfillment and righteousness.
Remember - Dark Room Photography
I often enjoy wandering through antique stores and allowing my mind to linger on the stories and history stimulated by each item displayed. This body of work simulates the memories of these stories and histories through the layering of imagery and nostalgia. The purpose of my work is to remind the viewer of the happiness once born from simplistic lifestyle and sincere love.
To accomplish my purpose, I visited various antique malls and captured numerous still life displays through long exposure. After developing my film, I layered the negatives to create enlargements that possessed a depth of imagery and meaning.
Evidence of Time
The layering of the clock and weathered stump signifies the physical mark of the procession of the abstract of time.
The layering of the old photo and the fine china signifies her respected legacy remembered and treasured while passed from generation to generation.
He was Loved
The layering of the old photo and dial phone signifies the constant desire for and anticipation of communication from the one who was far away.
The layering of the retired dress and old photos signifies a spontaneous memory of happiness and celebration.
The layering of the beaded purse and vintage print signifies the feminine and adventurous qualities associated with her character.
The layering of the fishing poles and reflection in the water signifies forgotten memories resurfaced with the contemplation of an object.
She was Beautiful
The layering of the brush set and photos signifies the delicate and gentle feminine qualities of her character.
The layering of the tandem bike and the lovers signifies the romance and cherished memories born between them.
The layering of the old print and kitchen sink signifies the love born through the wear and share of daily life.
When We were Young
The layering of the dolls and dishes signifies the revisited memory of joy once found in simplistic playtime.
Mind Series - Fine Art Print
First World Problems - Dark Room Photography
Infinite Displacement - Mixed Media Painting
The purpose of my work is to represent God's displacement of sin. Humans were created in the image of God with the purpose of glorifying Him. However, sin creates a barrier between God and man. Yet God's desire to reconcile humanity to Himself caused Him to sacrifice His Son Jesus as payment for sin, enabling Jesus to become the mediator between humanity and God. As a result, those who chose to become reconciled to God are freed from their sin and restored in right relationship God.
In my paintings, watercolors are used to represent the essence of humanity. Watercolors are delicate and easily washed away, in the same way humans are mortal and easily destroyed. The acrylic paint and cheese cloth visually represent the presence of sin, alluding to the Bible's metaphor of sin as filthy rags. To represent the mediation of Christ and presence of God, I applied spray fixative to the areas not covered in cheese cloth and painted on top of them with oils. The spray fixative subtly represents Christ's mediation between God and humanity because it is a necessary foundation for the oil paint to adhere to the watercolors. In the same way that the visible presence of oils on top of watercolors necessitates the presence of the fixative, the presence of God visibly changing the life of a believer demands Christ's mediation.
Using a palette of opposing compliments and extreme values allows me to visually portray the conflict between the presence of sin and the presence of God. The areas draped in cheese cloth possess darker shades representing the darkness of sin while the areas layered in oils possess lighter shades representing the illumination of God's presence.
The content of the individual paintings represent hope, liberty, perception, and obsession. The painting signifying hope reveals a girl who has drawn back a curtain that covered her face. This action represents pulling back the veil of sin over one's life with the revelation that there is hope in God. In a similar dialogue, the painting representing perception shows a person who is stepping out of the shadow of sin and darkness into the light of God's presence.
My paintings visually contrast the contaminating darkness of sin to the illuminating presence of God. Sin has no power over one that can combat the power of the Infinite God, and the unchanging constant of God's character is to displace the sin in one's life as one seeks His presence.