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selected works
threnody for a tower, 2021
from the artist:
"I was only there for a single tumultuous year, but while in university I studied architecture. I couldn't stand drafting, which ultimately led to me dropping out, but I still loved the artistic and academic aspects of my studies and I remain fascinated by the built environment. In a standard tarot deck, the Tower represents disaster and an ultimate upheaval, something that rocks you to your foundations. Even if it was oppressive or wrong for you, I don't think it's unnatural to mourn the building."
"I was only there for a single tumultuous year, but while in university I studied architecture. I couldn't stand drafting, which ultimately led to me dropping out, but I still loved the artistic and academic aspects of my studies and I remain fascinated by the built environment. In a standard tarot deck, the Tower represents disaster and an ultimate upheaval, something that rocks you to your foundations. Even if it was oppressive or wrong for you, I don't think it's unnatural to mourn the building."
mediator, 2021
stratocast, 2019
from the artist:
"The human body is a reference point that everything comes back to, in the end. As a queer artist, there's almost a sort of responsibility to show beauty in a new lens or from a new angle. I'm really interested in the structural aspect of the human body, and the human aspect of architecture and other designed objects--because the bodies we live in define how we interact with the world. Seeing the lines of a guitar in the human form is an interesting inversion to me."
"The human body is a reference point that everything comes back to, in the end. As a queer artist, there's almost a sort of responsibility to show beauty in a new lens or from a new angle. I'm really interested in the structural aspect of the human body, and the human aspect of architecture and other designed objects--because the bodies we live in define how we interact with the world. Seeing the lines of a guitar in the human form is an interesting inversion to me."
marsyas untied, 2021
the whole world + the work, 2021
from the artist:
"I'm fascinated by tarot, in a secular way. Storytelling is such a powerful tool in giving life meaning, and it's interesting to see how the imagery has been developed through time to describe general motions of life. The World is a really potent idea to me, the concept of completion. The card suggests a merging of the self with the world around you, which is a cool ideal in a very new age sense, but that loss of self has a sadness to it. The title of this piece comes from artist Martin Creed's Work No. 232, a neon installation currently housed in the Tate Modern which reads 'the whole world + the work = the whole world'. It's such a big thing to confront, that comfort and sadness about the all-encompassing nature of the world."
"I'm fascinated by tarot, in a secular way. Storytelling is such a powerful tool in giving life meaning, and it's interesting to see how the imagery has been developed through time to describe general motions of life. The World is a really potent idea to me, the concept of completion. The card suggests a merging of the self with the world around you, which is a cool ideal in a very new age sense, but that loss of self has a sadness to it. The title of this piece comes from artist Martin Creed's Work No. 232, a neon installation currently housed in the Tate Modern which reads 'the whole world + the work = the whole world'. It's such a big thing to confront, that comfort and sadness about the all-encompassing nature of the world."
canarias, 2021
rothko trash fire cda, 2021
from the artist:
"Mark Rothko is a legend, and maybe one of the most 'I-could-do-that/yeah-but-you-didn't' artists out there. I love just standing in front of his work, how vast it feels. I started to explore that, and it turned into a kind of self-aware meditation on my inescapable hometown. I got a lot of joy out of being that melodramatic."
"Mark Rothko is a legend, and maybe one of the most 'I-could-do-that/yeah-but-you-didn't' artists out there. I love just standing in front of his work, how vast it feels. I started to explore that, and it turned into a kind of self-aware meditation on my inescapable hometown. I got a lot of joy out of being that melodramatic."
greek cypriots: age of bronze, 2019
from the artist:
"The statue on the plinth is a study of Rodin's 'The Age of Bronze', which I've seen casts of in three different museums in Europe. It's such a significant piece of art, and I love the ambiguity of it. It was fun to play off of that, to lay out something that asks questions about culture and time and authenticity in a way that isn't trying to be blasphemous or present itself as reality."
"The statue on the plinth is a study of Rodin's 'The Age of Bronze', which I've seen casts of in three different museums in Europe. It's such a significant piece of art, and I love the ambiguity of it. It was fun to play off of that, to lay out something that asks questions about culture and time and authenticity in a way that isn't trying to be blasphemous or present itself as reality."
terminus, 2022
bomb song, 2021
from the artist:
"There's something poisonously exciting about the idea of the world ending. It can suck all sorts of people into dangerous patterns--it's not exactly a healthy thought to focus on because it absolves us of responsibility. The earth will turn and the wind will sing long after the bombs drop."
"There's something poisonously exciting about the idea of the world ending. It can suck all sorts of people into dangerous patterns--it's not exactly a healthy thought to focus on because it absolves us of responsibility. The earth will turn and the wind will sing long after the bombs drop."
the colour out of space, 2018
from the artist:
"H.P. Lovecraft has such a complicated legacy, but I am drawn to how he describes the undefinable. It's been weirdly empowering to see people like Victor Lavalle and Matt Ruff reframing his ideas and aesthetic to confront more real-world horrors and prejudices."
"H.P. Lovecraft has such a complicated legacy, but I am drawn to how he describes the undefinable. It's been weirdly empowering to see people like Victor Lavalle and Matt Ruff reframing his ideas and aesthetic to confront more real-world horrors and prejudices."
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