SERIES + EXPLORATIONS

Drowned Ophelia Place Ravignan ::oil, ch

Drowned Ophelia Place Ravignan

oil, charcoal, and plastic on canvas

 8 x 10 in

His Visit to Saint-Lazare or My Various

blue.

A R T I S T I C   S T A T E M E N T 

 

 

I’ve always loved Picasso’s face. Ever since I was a child, I was fascinated with him. There was a well-mannered pain within it, I recognized then. My mother often tells the story of when I was four and she said we were going to the museum to see Picasso. Before she could explain that she meant we would see his paintings, I jumped on my bed and cried, “Picasso’s Alive!”.  

 

These pieces are part of a series rooted in the Blue Period. A homage to Picasso’s lovers. They point at the crux of humanity, of love, of violence. The mutilation of women occupies my brain-sake at all hours. To see our believability questioned. Our character compromised. Our story swept under the rug with silence. It concerns me how this can occur in our hearts, our beds, in the arms of love. It concerns me, the way Picasso treated women. The way they concave into his body or canvas. The way we are useful only until we’re not. Why was I taught to praise the brilliant man blindly and look away from his caused disfigurements?

 

This being said, I still love Picasso. I find him brilliant. Yet, multiple facets can be true simultaneously. My aim is to create work that points at this truth. That tells the difficult story. That rips you open before it. And then presents you with the knife to do the same to the world outside. 

*this series is still in progress

His Visit to Saint-Lazare or My Various Cages

oil, charcoal, and saliva on canvas

 14 x 18 in

Showing Her a Vanitas :: oil, charcoal,

Showing Her a Vanitas

oil, charcoal, and adhesive on canvas

20 x 16 in

Dendrochronology

A R T I S T I C   S T A T E M E N T 

 

den·dro·chro·nol·o·gy

n. the science or technique of dating events, environmental change, and archaeological artifacts by using the characteristic patterns of annual growth rings in timber and tree trunks.

A compromise of genealogy and self-healing, this series works to investigate the tracks of trauma embedded in the history of my making. In cooperation with C-PTSD discoveries, I aim to trace the roots of pain instilled within my own tree. Watercolor portraits reflecting family events, heirlooms, or historical happenstances capture the evasive nature of time while pointing at the permanent veins that surface and impact in the present moment. 

*this series is still in progress

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January '67

watercolor on paper

2 x 3 in

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Grandma at Niagara Falls

watercolor on paper

2 x 3 in

Similar paintings can be custom ordered based on your own photos for $12 per image (plus shipping).

Email for inquiries. 

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My Grandparents' Wedding

watercolor on paper

2 x 3 in

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Grandpa's Foot Traffic

watercolor on paper

2 x 3 in

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Three Sisters
watercolor on paper
4 x 6 in

SOLO PAINTINGS

WATERCOLOR 

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Ruminations on the Influx of Roadkill fig. I
watercolor on paper
3 x 3 in

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Dawn Goes Down Today 

watercolor on paper

4 x 6 in

Lover's Leap

watercolor on paper

4 x 6 in

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Available for Purchase

$35

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Matthew's Altar
watercolor on paper
6 x 4 in

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We Went By Way

watercolor on print

8 x 10 in

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The River Styx

mixed media on canvas

10 x 8 in

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 Pet Lapels

mixed media on canvas

14 x 18 in

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A Worthless Sham

mixed media on paper

4 x 6 in

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Magdalene
mixed media on canvas
14 x 18 in

 Real Theatre of the Sex War

acrylic on canvas

10 x 8 in

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Discommodius Touch

mixed media on paper

14 x 18 in