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I am a San Antonio based, self taught, sustainable assemblage artist that mines, repurposes & redefines unconventional, quotidian materials from the urban wasteland and fuses them together in unexpected combinations to create poetic, abstract sculptural portraits of our society. Using simple woodworking practices, light engineering and basic artistic techniques, I produce small, subtle pieces that don’t overtly express a meaning or have a fixed purpose or intent. A unique feature of my contemporary artwork is that my intricate, yet minimalistic assemblages almost always appear mask or face-like.
The faces do not represent demons chasing me or angels coming to save me. They are not people I have lost, or found, or hope to one day find. They are not based on friends, family members, or strangers I have encountered while traversing through life. They are the faces of everyone and no one. Just as I am…they are.
I draw inspiration from my not so complicated past, factious present, and anticipated future. Hence, a variety of noticeable influences can be seen throughout my catalog of work, including the Blackish experience in America, the rich culture of South Central Texas (where I have lived for more than half my life), music – mainly gospel, old school R&B and hip hop, and although not intentionally, both pre-millennial pop culture and stories from the Bible. I think it is also important to note that my recent more than a decade-long tenure as a high school t ... view more »
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Artist Statement of Work
Tell us about your work (style, approach, philosophy, subject and/or theme):
My work is a near perfect symbolic representation of who I am - I am one thing in isolation and something else in the presence of others. I am present, but often absent at the same time. I can be both seen and unseen, and represent both the future and the past.
It is In the spirit of this personal philosophy, that I gather and assemble various found, repurposed objects (such as discarded tires or old hand tools) together in ways in which the items maintain their individual identities, but at the same time, when combined, appear to be transformed into something completely different. This same philosophy is employed when I create heirloom preservation works of art in which I take hand-me-down objects (i.e., a grandmother’s hairbrush or a family vintage timepiece) and gracefully juxtapose them with upcycled objects to create contemporary artworks. These assemblages showcase past lives, traditions and history in new, quirky, unexpected ways, while still preserving the heirloom for future generations to enjoy.
My development approach is internal and organic. I harvest materials from anywhere and everywhere (dumpsters, construction sites, vacant (often abandoned) buildings, and other places probably too suspect to mention), randomly assemble them, and then burp up accompanying titles and/or messages. This symbiosis of the power of transformation, frugality, ingenuity and a handmade quality defines the style of artwork.
For me the repurposing of objects is not just about making something new, but recycling found objects into art also dispels the myth that the usefulness of things can be limited to the purposes for which they were created. By recontextualizing salvaged materials I find lying around the city that would otherwise go to waste, such as pallet wood and other urban debris (scrap metal, broken tools, old car parts, discarded appliances, clothes and toys) my works also promote sustainability.
I believe that at its essence, sustainable art is one of innovation and environmental awareness. Questions guiding my artistic approach and practice: How can I create works that bring the earth and my art into aesthetic harmony? What changes can I employ in my artistic approach to help renew my art and protect the environment?
Joy, self-expression, everyday life and human interaction are the overriding themes of most of my artwork. Other themes such as race and heritage, and more recently, afrofuturism are explored in my creative works as well. Sustainability, craft joy and ethical art futurism (infusing rescued construction debris, salvaged wood and metal, and repurposed plastic and textiles) also lie at the heart of all my work.
My work seeks to convey a myriad of emotions. I do not presume to dictate what should be felt when my audience views each piece. I believe you can facilitate a direction with the title of the work, but the experience must be felt by the viewers.
The ultimate goal of my work is to instantly and emotionally engage a viewer. Most viewers’ initial connection comes through the recognition of a relatable object or piece of material. Upon closer inspection, they see that the piece is more ambiguous than originally perceived. They notice that the forms aren’t realistic depictions, or discern textures or items not previously seen. This is indicative of my work. I want to draw viewers to a piece with one perception and then allow them to rediscover it—all the while retaining the initial connection.
The challenge for me, a sustainable assemblage artist in the 21st century, is not only how to make my work relevant in today’s world, but to create my own language that stands the test of time. I am exploring the concept of obscuring the timestamp of my work, so its origins are not evident or transparent to the viewer.
Thoughts
I not only want to create aesthetics of joy, but positive things that will outlast me. I want to leave something good behind. I want to reintroduce waste back into the world process in an innovative way, to cut down pollution. Finally, I want to remind people that sometimes there’s beauty in the mundane.
Culturally Specific Art Category
Select Culturally Specific Art Category:: Black or African American