This series addresses the symbols and ideas of the apocalypse in a present act of transformation. It exists in the moment when the ethereal meets the earthly, the magical meets the mundane, the macrocosm meets the microcosm, when the veil lifts and the hidden meets the visible and the mental breakdown is a spiritual revelation.

When thinking about the apocalypse, flames, war, plague, other destructive forces come to mind. Literary and film depictions show a world in a chaos of sharply contrasted duality of good and evil, life and death. However, when digging deeper into the subject, the very word apocalypse seems to have a different meaning entirely to the doom we compare it with. It comes from the greek apokalypsis, meaning an “unveiling” or “revelation.” With this, the idea of the apocalypse became synonymous with the end of suffering. In Ancient Greece, the belief in the world’s unveiling was rooted in the word for hope, elpis—anticipation or expectation of a good, safe future, but also fear of the unknown.

In this work I address my own acceptance of terror. Through framing devices within the paintings and externally as installations, I present moments where the spiritual and the material meet or overlap, ready to be revealed.  In a time period which feels like a prolonged apocalypse, I draw upon the many mythologies which treat the end of the world as a birth of a new one.

2020 - 2021  
https://haveyouseenthehorsemenyet.cargo.site/

Interpreting the conversation of painting, art history, and curation I combine two and three-dimensional elements to create abstract contemporary contexts for the classical paintings of Giovanni Bellini. Exploring the development of his work through different points of his career, the abstracted pieces develop out of work created with varying purposes for viewing. The earliest piece, an altarpiece with religious function, the middle pieces, panels for everyday use in a cabinet, and the final, an oil painting for aesthetic visual documentation. 

Utilizing painting as collage I translate the curated image through watercolor, assemblage, installation, and the art historical cannon to develop new compositions out of established imagery. By redefining hierarchy through repetition, I question how a piece can be read and distilled into a visual language. In the process of repeating imagery, I play a game of telephone peeling context and image to attach new meaning through new relationships and the passage of time. 

 Acting as a collector of image and material, I examine how art is displayed in space to be analyzed from a different viewpoint. The creation of  installations work to physically enhance the visual experience of observing paintings while experimenting in painting with 3D objects and ultimately altering their aesthetic function and questioning the use of detail for decoration or disguise.