Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Suite: “aL.F.V-M.M” - aLacet Feri Vivere - Memento Mori.TECHNICAL SPECS:
An Original Avant-garde, autoethnographic drawing in non-archival ink on resume cotton paper, rendered with raw rock markings and ink, revisited across six years. Photographed under custom softbox lighting, wherein ink markings, handprints, wear, and time are foregrounded through a deliberately simple tonal and tint chassis. 24×36 in. Canson Photo Rag 308 (100% Cotton Archival Photo Paper)Starting at $28,000 - The artist's first masterwork in this suite. The longest in completion and the longest in reckoning.A PORTION OF ALL PROCEEDS GO DIRECTLY TO SUPPORTING “SCREEN TEST” A MAJOR COMPETITION AND BIOGRAPHICAL SERIES FOR ACTORS - BY THE ARTIST. STORY/BACKGROUND:
This piece surfaces from six years of ritual return, a repeated act of reckoning with duplicity not as fracture but as inheritance. I live with ADHD inside a world unbuilt for disability, and yet perpetually measured against its regularities, demands a body fluent in two registers at once, comprehension and its undoing. This work refuses to resolve that fluency into a single tongue. It lets both persist, side by side, unreconciled.The owl with a fish in one of its eyes arrives here not as ornament but as omen, an ancient figure of duplicitous sight, wisdom born of darkness rather than despite it. To hold wisdom without disowning the madness that forged it, this is the piece's central rite. Nothing here is forgotten in service of appearing resolved.The owl's presence carries the full weight of aLacet Feri Vivere - Memento Mori, embodying both halves of the suite at once. In its Renaissance inheritance, the owl with a fish in one of its eyes summons the era's preoccupation with remembering death within life, a modern memento mori threaded through a contemporary body. And yet the owl is never solemn alone. It is also cunning, quick-turning, watchful in a way that borders on mischief, even juvenile in its restlessness. Wisdom here is not static reverence. It is alive, alert, capable of play even as it carries mortality through the maze of lines and its many faces. Compounded, each part fully embodies both the gravity of Memento Mori and the insistence of Vivere, to live, fully, wittily, in spite of what is remembered.Compositionally, restraint governs the entire size of the piece, deliberately foreshortened, deliberately withheld, a self-authored limitation insisting that omission can carry as much gravity as excess. The palette suspends a warm, exposed orange against a deep, umber-like lavender, brownish purple, and blue border, where the light itself is held, colors held in tension rather than resolution. The upper register gestures toward a mountain, frozen in time by markings, by rock upon the paper alone to gesture a gradient, creating an icy, rocky terrain. Light operates here not only as ornament but as architecture, illuminating without fully clarifying what the marks are, insisting that fullness and wisdom are never synonymous with certainty.Suite: “aL.F.V-M.M” - aLacet Feri Vivere - Memento Mori.TECHNICAL SPECS:
An Original Avant-garde, autoethnographic drawing in non-archival ink on resume cotton paper, rendered with raw rock markings and ink, revisited across six years. Photographed under custom softbox lighting, wherein ink markings, handprints, wear, and time are foregrounded through a deliberately simple tonal and tint chassis. 24×36 in. Canson Photo Rag 308 (100% Cotton Archival Photo Paper)Starting at $28,000 - The artist's first masterwork in this suite. The longest in completion and the longest in reckoning.A PORTION OF ALL PROCEEDS GO DIRECTLY TO SUPPORTING “SCREEN TEST” A MAJOR COMPETITION AND BIOGRAPHICAL SERIES FOR ACTORS - BY THE ARTIST. STORY/BACKGROUND:
This piece surfaces from six years of ritual return, a repeated act of reckoning with duplicity not as fracture but as inheritance. I live with ADHD inside a world unbuilt for disability, and yet perpetually measured against its regularities, demands a body fluent in two registers at once, comprehension and its undoing. This work refuses to resolve that fluency into a single tongue. It lets both persist, side by side, unreconciled.The owl with a fish in one of its eyes arrives here not as ornament but as omen, an ancient figure of duplicitous sight, wisdom born of darkness rather than despite it. To hold wisdom without disowning the madness that forged it, this is the piece's central rite. Nothing here is forgotten in service of appearing resolved.The owl's presence carries the full weight of aLacet Feri Vivere - Memento Mori, embodying both halves of the suite at once. In its Renaissance inheritance, the owl with a fish in one of its eyes summons the era's preoccupation with remembering death within life, a modern memento mori threaded through a contemporary body. And yet the owl is never solemn alone. It is also cunning, quick-turning, watchful in a way that borders on mischief, even juvenile in its restlessness. Wisdom here is not static reverence. It is alive, alert, capable of play even as it carries mortality through the maze of lines and its many faces. Compounded, each part fully embodies both the gravity of Memento Mori and the insistence of Vivere, to live, fully, wittily, in spite of what is remembered.Compositionally, restraint governs the entire size of the piece, deliberately foreshortened, deliberately withheld, a self-authored limitation insisting that omission can carry as much gravity as excess. The palette suspends a warm, exposed orange against a deep, umber-like lavender, brownish purple, and blue border, where the light itself is held, colors held in tension rather than resolution. The upper register gestures toward a mountain, frozen in time by markings, by rock upon the paper alone to gesture a gradient, creating an icy, rocky terrain. Light operates here not only as ornament but as architecture, illuminating without fully clarifying what the marks are, insisting that fullness and wisdom are never synonymous with certainty.