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A Friend You Can Eat

Digital Manipulation
61 cm x 91.5 cm
September 2014
Exhibition Statement: The influence of this piece comes from a retro style Swedish Fish advertisement
series titled "A Friend You Can Eat", hence the title of this digital collage. The intentions of this piece are
more personal in nature and communicate a story about who I am and who I am willing to become.
Working with Photoshop to create clean, crisp edges and vibrant colours, this piece truly creates
something personal out of a normally impersonal, minimalist style.

Picking the Brain


Ink On Paper
45 cm x 23 cm
October 2014
Exhibition Statement: The influence of this piece is from Leonardo da Vinci's anatomical study drawings
of the brain and eye nerves, as well as the Norse cultural connotations of the raven. The intention of this
piece is to explore the theme of obsession, specifically the obsession of sleep and thought, with each
major shape and form having a symbolic meaning individually and overall. With the use of block
printing, the achromatic colour scheme achieves a darker symbolism while also showing a progression or
degeneration through the three prints caused by the printing process.

Self-Portrait
Ink On Paper
35 cm x 12.5 cm
October 2014
Exhibition Statement: The influence of this piece is Frank Auerbach's own self-portrait, titled "Frank
Auerbach". This work was meant to be personal while still managing to emulate the ideas and techniques
of the original artist of inspiration. The intention of this work was to show chaos simply while also
placing an emphasis on contrast and the differences between black and white or colour. The process of
drypoint printing achieves a more intense level of focus on detail, which allows room for more shading
and highlights, an important consideration when attempting portraiture.

The Desperate Woman


Acrylic On Canvas
91.5 cm x 91.5 cm
December 2014
Exhibition Statement: The influence of this piece is Gustave Courbet's own self-portrait, titled "The
Desperate Man". One of the intentions of this work was to paint using aspects of the realism art
movement applied to the mediums of acrylic paint on canvas. By replicating the self-portrait, I wanted to
convey the same emotion of desperation, stress, and worry. Also, because the original artwork was
completed in the 1840's, by keeping the original clothing and wear, I wanted to not only insert myself into
the emotion, but the time period of the painting as well.

Bracken Crown
Mixed Media
81.3 cm x 66 cm
February 2015
Exhibition Statement: The influence of this piece comes from the wire sculptures of Alexander Calder,
and more specifically, Calder's "Medusa". One intention of this piece is to show the contrast between
nature and industrial, while at the same time presenting a clear connection between the two. Rather than
a strong connection to an artist or a cultural aspect, "Bracken Crown" is more of a focus on the subject
matter itself, and bringing that subject down to its barest form.

Past, Present, Future


Acrylic On Canvas
60.96 cm x 91.44 cm
60.96 cm x 30.48 cm (individually)
March 2015
Exhibition Statement: The influence of "Past, Present, and Future" comes from the impressionistic style
of painting as well as the detail found in Chuck Close's "Mark". The first panel is meant to be "Past" and
can be seen through the monochromatic colour scheme as well as the blurred scene that the panel
presents due to the rough handling of paint that the impressionistic style embraces. The last panel is
meant to be "Future" and depicts the way I hope that I can affect my city, hence the colour scheme of
mainly greens and blues. The same blurry illusion is presented as well. The middle panel is meant to be
"Future" and is a representation of myself as most happiest in the present time, which is shown through
not only my own smile but the clear detailed precision of the painting.

The Man Who Would Be King


Acrylic on Canvas
60.96 cm x 121.92 cm
April 2015
Exhibition Statement: The influence of this piece is not only from the Tiffany Co. "Angel of Resurrection"
but also straight from the descriptions of angels that the prophet Ezekiel gave in the "Book of Ezekiel".
The overarching theme was to paint a representation of the phrase "the road to hell is paved with good
intentions". Through the medium of acrylic on canvas, like the appearance of stained glass, the
smoothness of the overall figure and background was able to be emulated.

Dog's Blood
Chalk Pastel and Canvas Board
50.8cm x 40.64 cm
October 2015
Exhibition Statement: The influence of this piece comes from Michelangelo's The Creation Of Adam,
as seen in the placement of the two subjects, both the dog and the outstretched hand. The statement of this
piece attempts to convey the idea of gender inequality and the fact that it can be overcome. Through the
use of chalk pastel on a canvas board, the piece gains a temporary feeling, and therefore, implies that
gender inequality will be overcome.

Blood Eagle
Digital Manipulation and Ink
22.9 cm x 30.5 cm
October 2015
Exhibition Statement: The influence of this piece is from the late Mannerist artist, Jacques Ballanges ink
drawings that have a strong emphasis on elegance and expressiveness through the positioning of a figure.
Culturally, the actual act of the blood eagle originates back to the Orkneyinga Saga which details the
process of cutting the lungs out of a persons back as a sacrifice to the Norse All-Father, Odin. The
execution style of the blood eagle is also associated with the Norse heaven, Valhalla, hence the vibrant
background image. Like Ballanges ink drawings, the use of ink creates a smooth composition as well as
drawing focus to the human form.

The Last Statue


Digital Manipulation and Photography
38.1 cm x 135.5 cm
October 2015
Exhibition Statement: The influence of this piece is from Leonardo Da Vincis The Last Supper.
Colouring the pale white statues in saturated and vibrant colors that match the original painting of The
Last Supper brings life to the photograph. Considering the context of the where the statue is found, a
cemetery, there becomes a contrast between life and death. The medium of photography and digital
manipulation in Photoshop attempts to capture a specific moment in time, specifically transcending a
Renaissance period painting and a modern stature.
The Butcher, The Baker, and the Candlestick Maker
Acrylic on Canvas
35.6 cm x 83.7 cm
35.6 cm x 27.9 cm (individually)
November 2015
Exhibition Statement: The influence of this piece is Daniel Pols surrealist paintings that aim to release
the creative potential of the unconscious mind through irrational juxtaposition, as seen by the disfigured
facial forms. The cultural influence of this piece stems from the 14th century English nursery rhyme of
The Butcher, The Baker, and the Candlestick Maker. By splitting the paintings into 3 separate parts,
each figure stands on its own as its own character, but together, it becomes apparent that each character
is connected by their similar backgrounds and similar skin tones and face disfigurements.

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