last two years I have focused on various considerations of the nature of
portraiture. The portrait became a distilled form of the figure, which
in turn became more generalized as a form in and of itself.
As the portrait transformed into a vehicle of the body, personal identity dissolved as a sense of physical being came to play. Physical quality takes place of individualization and identity is forsaken for organization of a larger structure.
Multiplication of the image becomes a substitute for a narrative format. These portraits are dislocated from personal identities and relate more directly to a search for time and place. They ultimately reflect on the isolation of the soul in society.
Effigies of Stolen Histories, 1996. Hydrocal, aluminum, steel.
Two Illuminated Portraits, 1995.
Beeswax, fabric, wood.