24 December 2010

Clockwork Diptych

This was my final project for my "Painting and Source: Questions of Representation" course with Christine Major. The work in progress of which can be seen here. It's a continuation of the style emulation studies in the previous post. I had to use the formal strategies from different artists in a way that related to my choice of subject matter/concept.

Clockwork Diptych, 36"x36", Oil on canvas, 2010

the artist statement that the prof required I write for context:

"My choice of images for this final project was a single scene from A Clockwork Orange, in which the boys are sitting in the Korova Milk Bar behind a table made from two female mannequins. In this opening scene of the film, we see one continuous shot, starting as a close up of the main character’s face, zooming out to reveal his surroundings as he remains still and unblinking. This scene inspired my final project in the both the subject matter (male dominated dystopia, the female form as literal object in service of men), and in the visual symmetry and stillness; qualities that are, to me, reminiscent of painting more so than film.

This choice evolved from my original list, as I had listed film images and time/nostalgia themes as some of my inspirations. As a cult-classic Stanley Kubrick film, the image stands alone as an icon of cult movies. But when repeated in different painterly treatments, the image stands away from its original context, as a question on the consumption and representation of images, especially of the female nude in new media and contemporary painting practices.

My aesthetic choice was a combination of Richter, Polke, and Tuymans’ techniques. I wanted to utilize Richter’s neutral representation of images in one of them and Tuymans’ ideas of formal “failure” and “incomplete” mediation of cultural images in the other. Both mixed with Polke-like, playfully iconoclastic, milky white stains and smears. These add both to the degradation of the image and to the content, as milk in this context can be seen as a visual euphemism both in the context of the film and in it's application to the painted surface. The chaotic and abject application of these stains could then be read as violent; a war between the sexes."

16 December 2010

Kubrick Studies

A few studies I did for my "Painting & Source" class. Three 16"x20" acrylic paintings based on the techniques of Gerhard Richter, Luc Tuymans, And Sigmar Polke respectively. Source images coming from the Stanley Kubrick films: A Clockwork Orange, The Shining, and Dr. Strangelove.

26 November 2010


some works in progress in the studio (they're based on the opening scene of a clockwork orange).

03 October 2010


First project for my painting studio, "Painting and Source 1: Questions of Representation", taught by Christine Major.

Untitled Patternscape, Oil on Canvas, 24"x48"

07 September 2010

fresh start

i lost my sketch book on a Greyhound to Montreal. Here are some doodles from my new sketchbook.

21 July 2010

The Flaming Lips & Bluesfest

The Flaming Lips at Ottawa blues fest. if you ever get the chance to see them live, do it. i somehow only got one shot of the concert. wayne coyne doing his hamsterball thing.

drawing of wayne coyne in ballpoint pen, red nail polish, and those dried out magic markers that you have to dip in water to use.

16 April 2010

Nostalgia Ad Nauseum

My final project for 2nd year photography. I went all meta...

This is my statement for the project:

Nina Raginsky is known for her overtly sentimental portraits that evoke nostalgia through their charmingly simplistic framing and subtle sepia toning, referring to portraits from the early years of photography. Each image is thus given a 'cherished memory' quality.

I chose to respond to her nostalgic aesthetic by photographing my old family pictures, embellished with cheesy gold photo corners, in her same stark frontal style; enhancing their aged look by altering their colors to mimic the discoloration of old color prints. With these old photos as my photographic subject, I wanted to speak to the issue of sentimentality and nostalgia in contemporary art, and the tendency to label them as kitschy themes. I referenced the cliche sentimentality of baby pictures and general bad taste of consumer photography in a sort of 'campy' aestheticization of nostalgia.

Looking within the photographic medium, there are inherent connections to notions of memory and loss. Each snapshot was a moment that ceased to be the instant after it was taken, yet is conserved through the image object which also continues to decay. In this way I find that photography, as a medium, tends to idealize the past at least in subtext due to its metaphysically nostalgic nature. And so, perhaps sentiment and nostalgia should not be pushed so swiftly to the realm of kitsch.

09 April 2010

surreal update

My painting final from the fall semester:

My drawing final from the winter semester:

06 March 2010


So me and Alejandro are doing some collaborative work for The New Art Festival that's happening this summer in Ottawa.
These are our application submissions:

We did some inkjet photo transfers onto canvas sheets and used acrylics, marker, and pencil over top.

22 February 2010

Travel and Leisure

Two new videos. One is of my Trip to New York with my friends. the other is footage of us building a fort.