“Prejudicial Culpability” 2010. (stickers, magnets, etc.) pdf document templates of these are free and available below for personal use.
A piece about how one might gesture at persistent undercurrents of prejudice in the wild (IRL).
“Prejudicial Culpability” 2010. (stickers, magnets, etc.) pdf document templates of these are free and available below for personal use.
A piece about how one might gesture at persistent undercurrents of prejudice in the wild (IRL).
Filling the Internet
Media: Web; Description: This is a piece about the space of the internet. Web 1.0, 2.0, and web 3.0 come together to increase John Baldessari’s digital footprint. Hopefully making conceptual art and artists more “accessible”.
tl;dr - I made 50-60 profiles and online personas for a stranger.
[Flash 10 is required to watch video]
“Racist Button”, constructed from an ordinary touch light, recording module, acrylic paint, and hand-cut stickers. 2010.
Friendship Erst
Silly Child, Merciless Thing
pinned to the wall like a poster
you had from age pink and purple
to age leather and denim.
Dressed like you were
(Richmond, VA) all over
and under.
Hot Tranny Mess
of sincerity have we made.
A chance to be friends, you grant
my wishes in a modern well.
Curly Haired Boy,
your sharp nose and little hands
made sandcastles of sound.
Like a good, soft friend.
Like an empty plastic bucket,
teasingly dripped into.
The memory even now is pleasure.
I’m all restless and faint
like a baby sister
when big brother is coming
off the yellow bus
into her embrace.
“Objective Subjective”
An homage to Man Ray’s Object To Be Destroyed/Indestructable Object. Wittner Metronome, paper clip, images and digital composites of friends, family, and (ex)lovers printed on photo paper. 2010
Three Prostitutes Folding Screen, screenprint on rice paper, wood, and metal, 203 X 137 cm (6’8”’ X 5’4”), 2010.
Monk’s Koromo, approx 150 x 150cm (60x60 in), cotton and acrylic screenprinting ink, hand-sewn. Combines both Japanese and Vietnamese Buddhist iconography. Created as an object of devotion, meditation, and protection.
Guitar in Several Parts
I
You were my hollow sweet sixteen.
Red lacquered, nickel-wound erogeny,
String suspenders holding up the pants
Of talentless pretense.
II
When I dance alone I do it
With one arm up and fingers curled
As if entertaining an absent partner.
The way you fit so intimately
Etched into muscle memory.
III
When you dance you don’t.
You stare at me with the cockeyed glance
Of f-holes and pearlescent inlays,
As if to say, “Are you really all I have
To look forward to?”
IV
Androgyny goes a long, strange way.
You are caught between the
Ridiculous phallucy of your neck
And the curve of a nubile waist.
V
A humpback whale, with baleen teeth,
Filtering notes into dischord and pink krill.
A skirt I can hide behind,
A necklace I can wear.
Doll Face and her Pictorial Spread
Were the world dry of pretty locations
My aesthetic priorities would be
An easy jog through some rich editorial,
All peaches and Norwegian chiffon.
Currently framing their continuous movement
Through wedding cake and statuesque
Aperitif glasses as neat and striking as a tan line.
The seamless indoor/outdoor experience is
A vertical green nonchalance of headpieces.
I will be a breeder but substantially classy,
A credit to my colleagues and their visual welfare.
Born upwards through acid-toned photography,
Mine is an image carried straight to sunshine.
Straight to maximum heights and retirements
Where the pearly gates use organza
As the expressive material.
A concept frozen in time,
In a park in Frosinone, Italy.
The women frolicking in vintage plaid capes,
Will be yours washed down with straight vodka.
To withstand the daily sartorial abuse,
The brash sexy tone, legs inexplicably posed.
