The Copied / Mirrored / Patterned Self
Mold-blown and hot-sculpted glass self-portraits.
October 19, 2013
I see my sculptures as metaphors for the subjective nature of history and personal narrative. I use models—blueprints, schematics and maquettes—as the primary mode of my recent work. These models inhabit a curious conceptual middle ground, for they are both representations of something else and are simultaneously autonomous objects themselves. They serve as stand-ins for something that is not there, while simultaneously being there themselves.
The self portrait models are a recent evolution, a counterpoint to the more visceral stimuli of the Blue Meridian series (with their focus on light, color, and the tension between movement and stasis). The portraits are an effort to see myself as part of my landscape by overlaying the patterns of invasive species onto my face. They too are concerned deeply with place, but use models of myself as the landscape of portraiture.
These models play with the concept of duplication, copying and mirroring—with their raft of attendant post-modern notions of simulacrum, impersonation, counterfeit, forgery, etcetera.