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About BEKÍ

Baltimore City

I have considered myself an artist since I was 16 when I decided to start thinking. The work that I do always comes back to the central idea that art is my primary way to imbue life with value. I enjoy specific research that increases my connection with everything. My practice is personal in a universal way. I am on a quest and I know what the whole thing looks like. I am at the beginning and the end all of the time. I grew up in New Jersey and ventured to Baltimore for my BFA and I am now here... more


materials: drawings on vellum and printer paper

The shape was created out of intuition that I later learned was probably my connection to the collective unconscious. It was drawn as the map of a place where my 16-yr-old fantasy narrative could take place, which I later learned was the prototypical hero’s journey. The fantasy narrative was a myth which was inspired by the events in my young life. The map was drawn based on the events of the myth with the notion that place and idea could be connected in a symbolic way. That is to say, if a person will one day walk away from society to look out at the vast ocean and have wanderlust, then there should be a place for them to do so, which then directly leads them to the next place as well, and so on. This was and often still is a heavy and complicated thought, because I do not propose to predict the future and yet I feel so connected to this shape as it has proved itself time and again. Over time I have re-interpreted the shape, transposed various ideas on it (which fundamentally abide by similar rules or purposefully do not), and analyzed it objectively to make more purely visual connections. At times it is the subject of my work. Sometimes the work is derived from it as it expresses parts of an actual or imagined diagram or the whole thing. Yet still other times it is just a jumping off point for me to say this is something I feel that is valuable. This is myself.


materials: steel, paint, shrink wrap, band-aids, inkjet prints, plywood panels, junkyard car scraps, plastic, polyester webbing, concrete, rubber

This work uses the instance of a fatal crash in Formula 1 racing- and there have been many- to explore death through culture and material. These works are in response to research of this crash.
Ayrton Senna was the last driver to die while racing in F1 and much has been documented about his life and death. My particular interest in him comes from what I find to be the mythical nature of the majority of the documentation of his life's story. The way Senna described being connected to the vehicle like driving was an out-of-body experience, is something I have obsessed over. Senna was also particularly (to the point of foreshadowing) concerned with safety in the sport. The epidemic of drivers who died before him was all too commonplace. As a direct result of his death, safety was put to the forefront of F1.
The materials used are both in the vocabulary of racing and particularly traditional minimalist artwork. I am using this material language to make something simple and transcendent: A short cylindrical concrete form with a bowl shaped emptiness and debossed racing logos taken from Senna's car sitting upon a minimal thickness of rubber. A 5-point safety belt attached to a simplified metal vessel which has been repeatedly smashed. A towering pole holding up the wreckage. Video stills taken from his crash at low-resolution.

Williams Renault FW16

materials: debossing on cardstock, paint, wood, inkjet prints on paper, copyshop prints

A collection of works that continue to draw from the 1994 fatal crash of F1 driver Ayrton Senna. The car he drove at the time was the Williams Renault FW16. Inspired by the visual world created by this wreck, I continue to extract works by examining ideas such as bridging the gap between the reality of death and the superficiality of the corporate sponsored racing livery; creating a structure with material (paper) that reaches beyond its limits to collapse in on itself naturally; superimposing the shape (see project MODEL DIAGRAMS) I have brought over from my concept mapping, onto the shape of the car itself and creating a dichotomy of life as it is a meaningful, mythical and often symbolic journey and the fragility once again of a material (paper) as a stand-in for the body or a car.


materials: leatherette, foam, resin, car debris, toll ground plastic, rubber, grass, Mylar, Miami street litter

In collaboration with artist Laura Hughes, COLORADO was created for Locust Projects in Miami, FL as a project where our two current modes of working could meet. My research into the female rally car driver Michele Mouton represented as car-like podiums referencing her Pike's Peak Hill Climb first place win and Laura used her experience with cross-country road trips and some months spent in rural Colorado. A minimal landscape is created with expansive faux-leather objects, solid car-like sculptures, a sheet of sky-reflecting mylar with the text 'RACE TO THE CLOUDS' cut out of it and finally resin rocks impregnated with debris found while taking walks together during our week in Miami.

Williams Renault FW16 ESPÍRITO / A BIT OF DEBRIS

materials: inkjet prints on paper, concrete

Placed across from one another, this is a disjointed diptych in which the viewer is placed between the two images, never able to see the two at the same time head-on. Depicted in the image is the Williams Renault FW16 which legendary racecar driver Ayrton Senna crashed and died in. Between the two images are scaled down solid concrete podiums with logos from the FW16 debossed into the surface.


materials: concrete, shock absorbing mat, car carpeting, debossing on inkjet prints on paper, aluminum frames, rasterized poster, inkjet prints on cardstock, concrete, souvenir mug

This installation is comprised of several pieces created in response to research on the life and death of Brazilian Formula 1 driver Ayrton Senna. Each piece plays off another to bring about a sense of the liminal through concept and materiality. Heavy concrete podiums look light, though they are similar to gravestones or cars; a low resolution image of the wreckage is blown up to proportions where it buckles under its own weight; a bird's eye view of two images of the crash suggest an out of body experience and minimal prints of blue gradients mirror the viewer's body in monolithic form while logos de-bossed on their surface are like ghosts protruding through.


materials: pvc, wood, OSB, Mylar, tires, packing tape, screen printed cotton, polyester webbing, plastic, foam, canvas, polyester mesh, pen and inkjet print on vellum, masking tape

Built in a shape from two drawings placed nearby (also see project 'MODEL DIAGRAMS'), this stage and the props I fabricated are set up for a small taiko ensemble to play. The taiko group were given a short list of instructions to guide the score and choreography of their performance so that it would conform to the ideas presented in a Model Diagram about personal relationships.


A Baltimore love story. Beginning with a bicycle processional, two lovers are set on a pre-determined course. Puffins swim under ice as the lovers are put through a ritual of pulling church-like pulpits across an ice rink as restless onlookers await. The master of ceremony steps in and joins the two and just as soon, the audience storms the ice and breaks up the couple. The lovers are zipped up in body bags and sent to sea by way of the inner harbor.


materials: rock salt, table salt, foam, plastic, balloons, nylon string, cinder block, PVC, cotton, nylon rope, steel, newspaper, packing tape, Plexiglas, velvet, tartan wool, drawings on vellum and paper

This installation is a physical representation of the video VISION QUEST LUNDI: BALTIMORE. It was installed at Open Space Baltimore. This installation incorporates visual components of the video to encapsulate both the narrative and its underlying concepts. Around the perimeter of the gallery are diagrams transposing various imagery and ideas onto a multi-layered shape on architectural vellum. One of the layers (or stages) of the shape is reflected in the footprint of the sculptural pieces, delineated by salt, ice rink walls, and balloons and split down the middle with pennants.

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