BA in Studio Art and Psychology,
For my most recent body of work, I became interested in creating paintings with elements of digital glitches, such as artifacts and other bugs created by corrupting digital code, after viewing artwork shared in Facebook's Glitch Artist Collective in 2014 and early 2015. My choices of row alignments, multiple exposures, and colors were influenced by my admiration for highly saturated Technicolor and Kodachrome films and publicity stills from Hollywood's "Golden Age," especially those from the late 1920s through the early '50s. In particular, I thought of the two-strip Technicolor process that relied on photographing through red and green filters, as well as the color misalignment apparent in many Technicolor feature films. Art Deco painter Tamara de Lempicka's smooth and extremely geometric style of portraiture was influential in my painting of figures.
The imagery in my paintings derives mostly from 1960s, '70s, and early '80s American advertisements for film, fashion, music, makeup, as well as contemporary fashion ads that attempt to recreate styles from those eras. In one case, I utilized some elements of gay pornography screenshots that were collaged and/or glitched by other artists and later re-uploaded online. Many of the images I used reflect the era of classic American film and TV with which I surrounded myself as a child and teenager.
My larger paintings emerged after several stages of reproduction and processing: photographing printed advertisements, manipulating those photographs via image glitching applications, modifying them in Photoshop, and making gridded drawings of those image files to guide the painting process. Through this sequence, my image sources shifted from analog (printed ads) to digital (glitched images) and back to analog (painted forms). In all of the paintings, I left some glimpses of pencil lines and drips of underpaintings to make clear that my painted reproduction of a heavily digitally processed image occurred through an imperfect human process. The resulting paintings exist only because of both mechanical and human glitches. By combining imagery from disparate source materials ranging from Art Deco to classic Hollywood films to Facebook-shared glitch art, I hope to create a new form of hybridized images.