What do you do?

What’s your five year plan? Ten year? Retirement?

Maybe if you are lucky you will end up a rich man with a beautiful wife.

This installation imagines and builds a high profile lawyer's from the artist's stereotyped and preconceived ideas. The installation questions societal constructs and pressures surrounding Ivy League Culture, family dynasty,privilege, 9 to 5 job security, monetary and material milestones, self critique, and teenage and childhood nostalgia amongst others.

The weekend warrior, rad dad, coach, or the weirdo down the street, everyone has one, everyone grew up around one. They exude passion, tenacity, excitement, some may even say they found the fountain of youth, not letting themselves be confined by the trials and tribulations of middle age and societal constructs. Regular things like the 9 to 5 lifestyle, parenting, office culture, or money issues that have the ability to turn most adults into shells of their former selves are taken in stride while they continue on. In the “Road to Rio”, Eassa creates a character that exists within a no frills olympic training facility through painted sculpture. It tells the story of Dad following what is considered to be the most elite sporting event in the world in his own way. In solidarity, the Dad has built his own renditions of traditional Olympic disciplines like the pole vault, track and field, shot putt, archery, and gymnastics in a way that utilized the materials from his immediate environment, suburbia. Utilizing empty Heineken mini kegs from the block parties as a shot putt, old plywood for his archery target, and over time as he fathered 5 children, he stole enough plastic balls from the McDonald’s playplace to fill a landing pit for the pole vault. The “Road to Rio” allows the Dad to train with the elite while praising and questioning the idea of mediocrity, individuality, the working class, patriarchy, elitism, amongst others. Eassa’s work consistently questions the societal constructs surrounding himself and others, exploring how he exists within these constructs, known or unknown, on his own terms.