Adjunct Assistant Professor, Contemporary Practices, Arts Administration and Policy (2005). BFA, 1995, York University, Toronto; MFA, 2001, School of the Art Institute of Chicago. Exhibitions: Slow, Chicago; Weatherspoon Art Museum, Greensboro, NC; Fluxspace, Philadelphia; Cain Schulte, San Francisco; Katharine Mulherin Contemporary Art, Toronto; Kasia Kay, Chicago; Dean Project, NY; Kuwait Art Foundation, Kuwait City; Green Lantern Gallery, Chicago; Gallery 400, Chicago; Wexner Center for the Arts, Columbus; Institute of Contemporary Art, Boston; Contemporary Arts Museum, Houston; Henie-Onstad Art Centre, Oslo. Publications: New American Paintings #83. Collections: Todd Oldham; Agnes Etherington Art Center, Kingston, Ontario; University of Toronto, Doris McCarthy Gallery; Andreas Brüning, Düsselorf. Awards: Propeller Fund Grant; Atlantic Center for the Arts Residency; CAAP Grant.
Is it surprising that prisons resemble factories, schools, barracks, hospitals, which all resemble prisons?
—Michel Foucault, Discipline and Punish
My most recent project is a suite of works on paper I refer to as "The Most Beautiful Things in the World." These gouache paintings are a humorous and whimsical indictment of authority and control in its various forms.
My practice is heavily informed by research. An essential element of my process is the development of an archive of hundreds of photos I source from the online versions of Radio Free Europe, Al Jazeera, the BBC, and other (largely non-American) news sources. I am drawn to images of lecterns, tires, demolished cars, hospital beds, memorials, and shipping containers. I manipulate and caricature these images—a the husk of an exploded car becomes an object of reverence, a speaker's stage is defended against riots or accidents with discarded tires, an archaic hospital bed is relocated to an overseas shipping facility. These works often conflate the iconography of institutional control (cubicles, lecterns, and stages) with imagery related to street-level civil unrest (burning tires and car bombs).
I depict my imagery with an improvisatory, gestural approach and a limited but sophisticated color palette. I intend to temper the weight of my subject matter with lyrical, clumsily seductive line and pattern, and to distill into formal playfulness ideas related to futility and failure. I do not aspire to epiphany; I choose instead to highlight, satirize, and impugn.
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.