I have began each work of this series “Here, My Edifice” with buildings that are quite distinguished in their function or duty. I draw the building to deconstruct features about the building in preparation for the painting. I create templates with the patterns made in the drawings. The painting is layered, color upon color in composing a building the whole dimension of the canvas it is on. Beyond appearance, I consider the history of the structure . I refer to a location and time period it has or may have originated. The life of each sort of building structure is identified for appropriation. I transport my paintings to various sites with communities foreign to the system of the buildings’ standard context.
“Appropriation is the style of contemporary art in which pictures are lifted from their original context, and placed in another, to address issues of meaning and content.”
The paintings on canvas hang upon vertical standing, steel armatures. Placed in the third dimension of the new scene, the painting is personified as the visitor or new comer. The distinguished building, when displaced, becomes eccentric. The locale is alarmed by the presence of the nomadic painting. In light of exploration, the subjectivity of the painting presented is challenged with in this foreign environment it has been installed. The building painting photographed is the representative structure for the complex system of values addressed case by case. Beach Post #2 (Kevin Doty), was sourced from a Miami Beach advertisement poster and the inherent system in place is of a lifeguard stand on the glamorous Miami Beach. This building chosen is proud of its original context; the beach, sun, relaxation, heat, wealth, vacation, and much more surely.
At the age of seven I moved from Inwood, New York to Baltimore County, Maryland. I was subject to a longing for my hometown and family. I was of their values, traditions and lifestyles. I wanted to remain a proper representative of my home. My development through and beyond adolescence may have been shy of adapting as a Baltimorian. I had settled into a New York chauvinistic mentality. The exchange of new ideas and debate is inevitable. We humans all explore and experience beyond the home, but do we mind our availability for these moments shared. I have to hope the sites I choose will be available to host my paintings as we arrive. We humans are all of complex value systems, edifices.
The paintings are flamboyant and assert their presence for the pride of their edifices. They were made available to travel because we often need to exchange community ideas and values. The juxtaposed estranged edifice to the foreign scene is to capture irony between these two contrasted positions. The photographs in the series “Here, My Edifice” are for the new and awkward conversations about the scene to be taken into consideration.