Landmark : Paralax Views
This body of work draws 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. I wanted to address parallax views and multiple vantage points within the work as a way to suggest the complexity of our relationships to the land we occupy and utilize. I created dual panel paintings that explore a range of diptych formats to focus on the idea of vantage point and the spacial experience of looking from here to there.
Just as vantage point impact our opinion, physicality impacts our attention. 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.
This work was featured in the Baltimore Museum of Art as part of the 2015 Sondheim Prize Finalist Exhibition.