I’M READY FOR MY CLOSE UP

In The Mood For Love takes cues from the Wong Kar-Wai movie of the same title. Rendered in film in 2000, this inspirational cinematic masterpiece is an enrapturing display of color arrangements and spatial situations; set in 1960’s Hong Kong, the story of two married neighbors turned unfaithful lovers, and their respective spouses. Mostly shot in close-quartered interiors and intimate spaces that use objects and their placement to insinuate a larger scene. 

 

Mirrors act like the eyes of cameraman-

reacting in real time, 

capturing shifting light and the image of my work. 

 

A collection of garden urns 

coalesce into a dynamic composition, 

often basking in their own reflection 

Narcissus, 

Dorian Grey, 

Kim Kardashian.

 

Panning from my works Myriad to Fallen Portico, reflections show instances of watered-down classical Greek architecture by way of mass-produced products found in the mainstream consumer market, which I transform with cosmetic treatments and material applications. Sourced from an online party store, pref­­ab cardboard templates assemble into distinctive builds. An aluminum awning that I first encountered detached on the side of the street in Queens, NY is more vanity and artifice than an integral part of a home’s facade. Similarly cast in reflection, the custom pink velvet stanchions and the MGM-esque lion guardian statues in Glitteratti encapsulate the glitz and glamour that distinguished the Hollywood Golden Age film era.  

 

… There are lights, a camera, and then action as Norma Desmond (infamously portrayed by Gloria Swanson) personifies melodrama itself in the final scene of Sunset Boulevard, descending a staircase into a sea of paparazzi to exclaim: “I’m ready for my close-up!”

 

Embodying Norma’s raison d'etre, my works are aspirationally luxurious, exalted and surface-oriented. Both the theatricality of Old Hollywood films and my childhood in Southwest Virginia– surrounded by a landscape dotted with examples of kitsch and americana –influence and reverberate through my work. 

 

Garish, 

like a colorized photo of the Addams Family TV set 

revealing the vivid reality behind 

its solemn black and white veneer

 

Plush and neon-technicolored, 

like the furry flip-flop trend in fashion 

that descended en masse, 

ready-to-wear-sometime-last-year.