the Love protest

Over the years, my work has been most recognizable for it’s iconic nude, faceless, often laughing figures. This has been a bold statement I have used to depict neutrality in human identity.

Through these figures, one cannot tell what gender, economic status or age the people I represent are. This has allowed everyone who looks at my work to take it as personally as they see fit, seeing themselves through the experiences of the figures on the canvas.

This body of work will tell everyday stories of people in the city we reside in. With the use of various accessories, I wish to depict lives from several walks of life, with the emphasis that we are all visitors in the urban spaces we have grown to call home, that none of us really belong here.

In continuation with the use of my figures to represent the everyday human, I have introduced bold accessories to illuminate the stories and experiences they each have to share. Starting with the introduction of the high/bar stool, which is a graduation from the bench they usually sat on before. This is a slightly more comfortable seat yet still not necessarily a depiction of wealth or success.