I maneuver pools of pigment and water into recognizable forms from the vantage of a woman.
My work is an expression of my inner monsters that often dovetails with social criticism. I love things that are both ridiculous and serious, and seek to convey this through the absurd and the lo-fi.
I paint on other people things. Frick! Frazzle-BOOM!
AND I GET ALONG WELL WITH OTHERS GODDAM IT!
The origin of this body of work is in compression and tension, growth and decay, and how these and other processes shape built environments.
Painter focused on transparency and narrative of process and influenced by writing, weaving, and
Juan Fontanive makes films without using light.
Recent works examine and reinterpret the shifting boundaries between public and private
space within today's society.
In my work I minimize the cityscape to simple geometric forms to present how I see the urban
environment and the relationship between its people, its spaces, and its structures.
Through experimentation, play and innovation I create sculptures and paintings that are known for
their power to transform materials, inventiveness and odd but suggestive subject matter.
My work transforms the human body into a magical realist vessel for embodying archetypes of death, desire and our collective unconscious –those very things that make us most human and most enigmatic.
My work intersects fiction and reality by exposing and defining cultural identities and collective
curating, combining, collaging culture
linocut prints and drawings; addressing questions of perception, identity, memory, time and
I create miniature sculptures and constellations of cut, painted paper.
My photography and writing concern themes of the urban/natural, public and private space,
ecology, community and security.
The Blanket Series embodies a multi-year exploration on the connection of the body and
landscape and draws on popular notions of the blanket as an object of personal protection,
comfort, and veiling.
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