Landmark : Paralax View
This body of work continues my investigation into the idea of landmark while introducing the idea of multiple views. I have been thinking about parallax views and multiple vantage points and how they could be incorporated into a painting. But also how they could suggest the complexity of our relationships to the land we occupy and utilize. This exploration initiated ideas of multi-panel paintings that have the potential to shift planes and perspectives. Because we relate to information presented in a two-dimensional space differently than we do to that in three-dimensional space, things that occupy our space command our attention. To recognize that fact, some paintings are shown on the walls while others occupy custom-made wooden structures. These structures bring the paintings off of the wall and into an awkwardly active and insistent space that wanders in a non-committal manner between sculpture, picket-sign, billboard, and furniture.
The images draw from history and current events, recomposing mountain top removal explosions, aerial views of flooded communities, and the billowing plumes of oil train derailments. These are events that impact us all in some way or another, but our opinions and views are shaped by our proximity, our needs, our costs and our benefits.
This work was featured in the Baltimore Museum of Art as part of the 2015 Sondheim Prize Finalist Exhibition.