Almost Show time – DEFINE will open April 19th, with a reception from 7-10 at Kai-Lin Art located at 999 Brady Avenue NW Suite 7 Atlanta Georgia 30318.
It’s an honor and privilege to be featured in the upcoming show at Kai-Lin Art. The show is titled: DEFINE. It’s a group exhibition featuring some Atlanta artists, one of which is Killamari! I’m excited. I’ll be displaying a couple of my long process paintings on wood, and a drawing on paper. Here are the corresponding artist statements. Yes, there is a statement about each piece, as each one took around 6 months to complete.
“Our Progress so Far” -above
Ink on archival paper
36”x 36”
This original drawing was the result of a year’s worth of studying the illustrations found on different world currencies and an attempt to fashion a new image for our late-stage capitalism. Several large drawings were scrapped in attempting to adopt this style in this imaginative combination of subjects.
In viewing many different currencies from around the world, one quickly finds that most countries attempt to tell stories of national identity on their banknotes. It seems that there are common themes found within most forms of cash from around the globe. They typically have some sort of religious or spiritual theme, a patriotic or authority rhetoric, and some sort of heroic character. Borrowing from antiquity and modern technology, the images are meshed in a currency like illustrative style to create this painstaking drawing.
This ink drawing features classical sculptures to represent the ideals and philosophies of ancient civilizations, often romanticized for their contributions to art and culture, yet they also symbolize the roots of power structures and governance. The war machines and public service vehicles symbolize the mechanisms of power, control, and societal organization.
At the base lies a large, impoverished village. This rendering serves as a stark contrast to the grandeur and might of the elements above, highlighting the disparities and inequalities perpetuated by those in power. The village, though portrayed as poor, is rich in detail and narrative, inviting the viewer to contemplate the daily realities and struggles of the majority who live under the shadows of these towering structures of power.
To characterize the current economic situation of end stage capitalism, and where we may be headed as a nation, I try to imagine a more up to date narrative that showcases the intense wealth inequality, exploitation of workers, and massive corporate profits in every sector while inflation continues to gauge us on every commodity imaginable. My aim was to expand sheer amount of subjects – and therefore the narrative, creating a reminder of the continuous struggle between the ruling class and the oppressed, encouraging viewers to ponder the roles, responsibilities, and consequences of power in our world.
“Our Progress So Far” - above
Paint on Black Walnut
48”x48”
Although the reference for this piece was meticulously created in fine detail with ink on paper, this larger, more tightly cropped version of the original tightens the focus on the more important visuals of the narrative. As stated, the reference drawing for this painting was created after a yearlong study of the style and subject matter of illustrative elements found on cash worldwide. And since the narrative of this artwork is a commentary on the United States, particular attention was paid to American cash. The biggest difference between the original drawing and this painting is the media. Black walnut was chosen for the canvas, and it, along with the limited black and white color pallet creates the look of an engraved copper plate. This is a sort of an homage to the engraved copper plates that were used back in Europe and all the way up until the 1980’s for printing cash in America.
From the original drawing’s artist statement, this artwork “features classical sculptures to represent the ideals and philosophies of ancient civilizations, often romanticized for their contributions to art and culture, yet they also symbolize the roots of power structures and governance. The war machines and public service vehicles symbolize the mechanisms of power, control, and societal organization.
At the base lies a large, impoverished village. This rendering serves as a stark contrast to the grandeur and might of the elements above, highlighting the disparities and inequalities perpetuated by those in power. The village, though portrayed as poor, is rich in detail and narrative, inviting the viewer to contemplate the daily realities and struggles of the majority who live under the shadows of these towering structures of power.
To characterize the current economic situation of end stage capitalism, and where we may be headed as a nation, I try to imagine a more up to date narrative that showcases the intense wealth inequality, exploitation of workers, and massive corporate profits in every sector while inflation continues to gauge us on every commodity imaginable. My aim was to expand sheer amount of subjects – and therefore the narrative, creating a reminder of the continuous struggle between the ruling class and the oppressed, encouraging viewers to ponder the roles, responsibilities, and consequences of power in our world.
“Honeymoon” - above
Acrylic on Birch
72”x48”
As an artist, I am drawn to the intersection of chaos and harmony, and this piece embodies that fascination. It is an exploration of the delicate balance between the wild and the controlled, the spontaneous and the intentional. This work began like most of my recent works, with lots of sketching. Untethered, flowing shapes eventually morphed into shapes that eventually formed this piece, entitled, Honeymoon.
The choice of wood as a canvas adds an organic dimension, grounding the abstraction in the tactile and the natural. The grain becomes a silent collaborator, contributing its own story to the unfolding narrative. The overarching style of the work is derived from the aesthetic of cash money, hopeful that the viewer will realize the inherit value of the experiences that inspired this work.
In my work, I strive to explore the intricate interplay between the tangible and intangible, the seen and unseen, inviting viewers to delve into realms beyond the surface. Drawing inspiration from the complexities of human experience, nature's profound beauty, and the mysteries of the cosmos, I embark on a journey of creative expression that transcends boundaries and defies conventional categorization.
I see myself as both an observer and a participant in the ongoing dialogue between art and the world. My hope is that my creations serve as catalysts for reflection and inspiration, inviting viewers to embark on their own personal journeys of discovery and meaning-making. Ultimately, I believe that art has the power to transcend boundaries, unite communities, and illuminate the human experience in all its complexity and wonder.