BODIES ON COASTLINES

 

My source material comes from a variety of resources including found photos of people in a subsistent relationship or deep connection to the coast from disparate parts of the world such as images of shipwrecked refugees, surfers and fisherman. Inspired by my dads ethnographical photographs, I started the Instagram, Un_archive, which generates a continuous stream of current images from which I find inspiration from Papua New Guinea and beyond.

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PORTRAITS

I have always made portraits. No matter what generates the inspiration of a painted portrait it is always a gesture of both curiosity and intimacy and meets the needs of the historical times in which they are made.  I am interested in making portraits that are unconventional and scalable to an individual. Please feel free to contact me if you are interested in commissioning a portrait.  Almost anything is possible!

GONE OUT OF EXPERIENCE

The Amazonian tribe the Piraha would say "xibipio" GONE OUT OF EXPERIENCE to describe someone or something that is not in their presence.  So I presented my work with disparate cultural references under this unifying theme.

 

THE RUG PAINTINGS are representations of Berber rugs inspired by my photographs of the monumental stacks of folded rugs found in Morocco that reveal a stunning horizontal archive of color particular to the Atlas Mountains. The paintings were prompted by my interest in working with a culturally distinct lexicon of color.

THE BILAS BILONG PIPIA RECYCLED TRIBAL DRESS came from my observance of my own waste as my studio was attached to a dump and recycle center in Los Angeles. What resulted was a dress made from the byproducts of my studio which emulated the elemental and eye catching "sing sing" attire created from natural materials found in Papua New Guinea.

 

THE COUCH CULTURE PILLOWS were a stylized and merchandized display of pillows with historical photos representing colonized people of PNG as a way of subverting the term armchair anthropologist or idea that we think we can understand “the other” remotely.

COLONIZATION

Correctness

and Incorrectness coexist on a remote island where

a complicated existence is eked out by its inhabitants.

The ancestors did not see it coming. The pictorial variation registered

s l o w l y as a time lapse Tsunami of exploitation,

 inserted values,

                subordination,

                                provocation,

                                 subsuming seduction, 

death and opportunity.

 

            When the tides receded, shells spilt revealing outmoded remnants

and a few precious photos which survived as evidence of the continuum of culture.

The following generations, that history created, emerged as anomalies that had a talent for improvisation

as they were inexplicably

light on their feet.