[ NOVEMBER 2 ]
ELABORATION: quotes from studio interview
The clothes pile in this piece became this kind of symbol of like, excess. All of the clothes come from dumpsters, particularly the ones filled with rejects from the donations to earthquake victims of Haiti. They've been deemed unfit for them, they're either too bright or too colorful, or too hot-- that I would agree with-- but they should just get everything, you know? I don't see why people are making these decisions to reject things. It's kind of sad people that donate don't know where these things are all going.
There's the idea of art being this precious thing,
something somebody would want, that people are interested in
seeing, whereas it was just garbage a second ago. That whole journey
is important to me.
In process, all these different ideas come into the air and feed into
the work, and ultimately when it's viewed these are not things that
will particularly come to mind to the viewer. But it helps me in the
construction of it to be thinking of these things, in building the
aesthetic of it.
Basically I wanted to create this feeling that this character has so much,
but it's all like, nothing really. A more humorous idea than somber. And I
don't go into too much politics with my work either, it's more
personal. I'm dealing with ideas of personality, how willing people
are to disclose their true identity in such a masked scene that there
is here, all the parties and clubs. I see people all dressed up, and
it's so uncomfortably hot here-- "How could you wear that? You look
really great, but, at what cost?"
So this [costume] is a representation of that kind of thing but to a
different extreme. Where sometimes it's acceptable to show more skin,
I completely do not. And in doing so, create this character where he's
this mask, he's not who he really is.
Characters can become shapes, more geometric or more fluid, but nothing human. Something that is more reminiscent of like, confetti.