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b.smart

Drawings/ Digital Sketches

"COMMUNITY POOL" - Digital Series

Rooftop.jpg

(Image 1) Roof Top. "Community Pool". 2020.

Crouched.jpg

(Image 2) Crouched. "Community Pool". 2020.

Announcement.jpg

(Image 3) Announcement. "Community Pool". 2020.

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(Images 1, 2 & 3) Community Pool  is a photo-series of Vector renderings from Sketchup that feature materials/textures from my paintings on wood panels. They were manipulated using photo editing software and I am featured modeling a handmade pom-pom jacket.

 

Covid-19 restrictions lent an opportunity to think outside the box or rather, within the screen. In staging, traditional galleries have us consider the confines or the vastness of a room.

Working in the realms of installation and performance,

I found myself in a virtual space while still trying to adhere to a physical one.

"Community Pool" began with preliminary sketches (Images 4 & 5) of building I called "Utility House" which then became a digital environment. The whole project involved garment making, architectural design and collage.  

The initial undertaking was a retro-futuristic editorial fashion shoot, but it evolved into a testament about being at odds with oneself, within a simulation.

The bounds of my creativity were pushed, while falling into the desperation of isolation (and pregnancy).

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Utility House_Progress2.jpg

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Preliminary Sketches - COMMUNITY POOL - "Utility House"

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(Image 4) Utility House - Progress Shot for Community Pool series, 2020. Screenshot from Sketchup model. 

Utile Sketch, 2020.jpg

(Image 5) Utile, 2020. Felt pen and pencil crayon on isometric graph paper. (Hand-sketch later developed into Utility House). 

"NOT SO SERIAL" - Sketch/Collage Series

Whipped.jpg

Whipped. "Not So Serial" series, 2020. Digitally altered (pen and pencil) sketches and photography.

Topsy.jpg

Topsy. "Not So Serial" series, 2020. Digitally altered (pencil and pencil-crayon) sketches, photography and Sketchup rendering.

Settle The Fog.jpg

Settle. "Not So Serial" series, 2020. Digitally altered (pencil and pencil-crayon) sketches, photography, paint-marker and household paint on plywood and Sketchup rendering .

DIGITAL COLLAGE/ Photography

ReplicasOfReplicas_2021.jpg

Replicas of Replicas.  Artist's own photo of fake Chinoiserie vase with other found-photography manipulated in photo-editing software: digital sculpture.

IMG_2639.JPG

(Image 6) Kaleidescope Shot 1. 

IMG_2630.JPG

(Image 7) Kaleidoscope Shot 2. 

Kaleidescope Shots. 2021. Unedited photos of Infinity Island 3D model (black natural versatile plastic) and fake Chinoiserie vase, using kaleidoscope lens for IPhone, mirror.
(Images 6 & 7)  

InfinitySketch.jpg

Kaleidoscope Edit. 2021. Digital collage of "Kaleidescope Shots", bathtub-submersed "CADmare" photo and screenshot of "Infinity Island - Plantimals". 

DRAWINGS

Break You In Half.jpg

Break You In Half. 2020. Pencil on Bristol; 22″ x 30″.

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(TRIGGER WARNING:

Abuse/ Sexual Violence)

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 I was 12 years old, the first time I distinctly remember someone showing sexual interest in me. A neighborhood kid (about 4 years older than me) looked at me in a crazed and deranged way, telling me he wanted to “break me in half”. My best friend reiterated to me, “that means he wants to have sex with you”. "That means he likes you".

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Many of my sexual experiences have been met with violence, threats, and abuse - a wound that is very difficult to heal. From an early age, I learned that people wanted to love me and hurt me and go right back to loving me. 

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A lot transpired over the months that lead up to the creation of Break You In Half. After battles with mental health and upon leaving a detox program for alcohol abuse – I decided to write a letter to my rapist. The events that I described took place between he and I when I was 16 years old, and he was 24. To summarize, I let this man know that he raped me before I ever had a chance to fall in love. I believe this to have been one of the many abusive situations that left me with a negative image of myself.

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I came to two realizations regarding my creativity:

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- It had been 13 years since I bought myself drawing supplies. I was not valuing myself, or my artwork enough to put money into something I loved – to achieve something better.

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- I had not drawn noticeably male figures in my work, since the last time I was severely abused by a man (7 years ago)

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Although this work may read as a piece about toxic masculinity, it means much more to me than that. It is about breaking free – the phoenix rising from the ashes, so to speak. The idea of contrived masculinity may be a factor as to why some men hold onto anger. The lack of control in their own lives, leads them to taking control of someone they perceive as being weaker. The truth is that survivors of abuse are some of the strongest people. 

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Bringing Home The Bacon 1 .jpg

Bringing Home the Bacon - Drawing 1. 2013. Pencil, charcoal, oil and chalk pastel on Bristol; 30″ x 22″.

Bringing Home The Bacon 2 .jpg

Bringing Home the Bacon - Drawing 2. 2013. Pencil, charcoal, oil and chalk pastel on Bristol; 30″ x 22″.

SKETCHBOOK

Poolside.jpg

Poolside, "Best of Sketchbook". 2020. (Featured in "Crouched", "Community Pool" series.

AcrobatSketch.jpg

Acrobat, "Best of Sketchbook". 2020. Pencil and pencil crayon on paper.

ThingYouFindInOldBackpacks.jpg

Things You Find In Old Backpacks, "Best of Sketchbook". 2020. Pencil and pebbles on paper.

Heaven_edited.jpg

Heaven, 2021. Sharpie on paper.

AngryGarden_edited.jpg

Angry Garden, 2021. Charcoal and paint on paper.

Stop And Smell The Roses, 2021. Pencil and sharpie paper cut outs on paper.

Onion Booty Make Me Cry, 2021. Pencil on paper.

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