"Contradictions" Artist's Statement

Gallery

When I tell a story, I dislike straightforward narratives. I enjoy darting around to the edges, wandering off on detours and highlighting seemingly insignificant details. Using this approach, I craft an outline of the tale. Connecting all the elements is something that can be left for the viewer. If successful, what I have made is not a single story, but a series of stories created as viewers writes their own.

The "Contradictions" challenges viewers by presenting just enough information to begin the storytelling process. The use of contradictions is a way to stimulate thought. In each piece, the subject matter is presented in a contradictory form: Mechanical structures become organic shapes. Human-like figures are rendered as mechanical or ethereal. Rigid structures, such as game boards and skyscrapers are thrown into flux. This disconnect challenges a viewer, bringing forth an interactive element with the works.

With most of these pieces, I do have a specific story in mind. For example, in "Don't Gentlemen Duel with Pistols?" the use of a distorted game board represents how those in charge of the game are changing the rules. The pieces involved represent the underlings caught up in the process. By using two pawns and a knight, the idea of these chess pieces playing the roles of a military is strengthened. When all these ideas are connected, the motivation behind the work appears: This piece is about the lies in justifying the war in Iraq. As the propaganda changed (terrorist ties, to WMDs, to eradicating evil in the name of righteousness and onward) the layout of the chess board shifted. The reason chess is considered a game of kings is because it operates on such strict rules. By changing the rules as the game progresses, the nobility of a conflict is lost.

That is just my story. Many more can be created. I have heard someone talk about how the muddled chessboard appears to solidify again at the top of the piece. This symbolizes a return to harmony and justice in the world. Maybe the piece is a story explaining that, as bad as it looks now, it will get better in the end. As the artist, it's wonderful to hear interpretations such as that - especially since this sense of optimism in the face of conflict is a dominant theme in my artwork. While the Iraq War analogy was lost, the concept remained in the second interpretation. That is how I know the piece is successful.

I hesitate to share any more stories for fear of tainting future interpretations. Should someone ask about my story, I will tell - but until it happens all are encouraged to follow their own path with interpretation.