“…resistances to psychological enlightenment are based...on fear…of the discoveries that might be made in the realm of the unconscious, it is this fear of the unconscious psyche which not only impedes self-knowledge but it is the greatest obstacle to a wider understanding.”- Carl Jung
I am concerned with confronting the shadows of the unconscious, having a dialogue with the grotesque and, therein, discovering beauty. The tenor of my work is macabre and emotional as I deal with extreme axioms to dramatize the dualities of our nature; these polar aspects reside within us and include the male and female, vulnerability and strength, the light and the dark.
The contrasts I explore exhibit a breadth of emotions that express our psychological and spiritual
maturation. The emotions I’m concerned with are sometimes buried and inaccessible to most people. They include pain, fear and separation. Confronting these emotions can serve as a catalyst that melts barriers to our development.
I work intuitively, but my intuition is augmented with intellectual inquiry and rooted in archetypal forms; these salient forms are often hybrids of humans and animals. Captivated by the hierarchies of the animal world, I contemplate the roles of both predator and prey. My visual language includes the use of the vulnerable deer, which are sometimes disemboweled. Intestines are used as a symbol, a personal archetype; the “guts” remind us that we are animals. Depicting an involuntary organ which digests our food suggests hunger and survival, entering and exiting and primal instinct.
Intestines are also used as a metaphor for the inner self.
The hyenas’ hierarchy in the food chain is relative: they have predators. We identify with the hyena because we too were the hunted as well as the hunters. Contemporary society has its own hierarchy made up of class, gender and race; the less privileged remain on the bottom rung of the ladder.
Materials also play a symbolic role in my work; the ephemeral characteristics of impermanent and perishable substances like rose petals and powdered pigments allude to the fleeting nature of the ego and the flesh. Other substances used are fired clay, tar paper, resin and lard. Their resilient and pliable qualities refer to the dynamic and expansive part of ourselves.
As the physical and emotional reside together in one body, so do
aspects of “good” and “evil.” Joseph Campbell wrote, “[from] the bottom of the abyss comes the voice of salvation. The black moment is…when the real message of transformation is going to come. At the darkest moment comes the light.” This “light” can be seen as self-discovery and acceptance; it illuminates, allowing one to become psychologically closer to the dark condition.
This investigation reveals the honesty of humanity. Embracing all aspects of ourselves, taking a closer look at the “shadow side” of the human condition is my attempt to discover truth. This truth stems from acknowledging our imperfections and recognizing humanness (and dignity). Comprised of evocative, poignant layers of meaning, I intend the viewer to contemplate what it means to be human, to connect with a deeper side of oneself.
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