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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)$24,500 - The artist's 2nd completed piece in this suite.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.This is one of the most weighted pieces in the suite. It exists to reason toward happiness ("Feri"), and toward a remembrance of motion rendered in exaggerated form. In its making, simple lines were chosen deliberately, lines that appear to float just off the paper's surface while still remaining tethered to it, gesturing toward a slight obscurity of hand. Alongside them, simple shapes carry an informal understanding of life that I absorbed growing up, basic forms that quietly composed everything around me, just like happiness and laughter can suddenly wash over you.The figure leans, weighted by heavier circles gathered at its top, circles and faded shapes, triangles, and shade, repeating in a rhythm that produces both visibility and invisibility at once, the very thing we are taught in principle but must practice in living. Beside this leaning form rests a face, avant-garde in construction, inviting the viewer inward to find the small shapes nested within it, obscuring even as it clarifies. It is, unmistakably, a smiling face.What a smile carries, here, is completeness, fullness, the tingle that rises on skin in a true moment of happiness. Small triangles inside the mouth hold that chill, that involuntary bodily proof of joy. The figure beside it, layered in circles and overlapping lines, descends into a faded, smoke-like structure, a shape reaching toward the fullness of quiet, deep happiness, and toward the unknown place of color happiness has always originated from for me, rendered here in blue and purple.The piece is toned and shaded to resemble an aged document, an old key drawing, worn faintly at its lower edge. Happiness, perhaps the truest and most coveted form of living, is treated here not as something new but as something ancient, already inscribed, already scratched into memory long before it is felt - hopefully, when held, once again remembered…remember…to smile.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)$24,500 - The artist's 2nd completed piece in this suite.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.This is one of the most weighted pieces in the suite. It exists to reason toward happiness ("Feri"), and toward a remembrance of motion rendered in exaggerated form. In its making, simple lines were chosen deliberately, lines that appear to float just off the paper's surface while still remaining tethered to it, gesturing toward a slight obscurity of hand. Alongside them, simple shapes carry an informal understanding of life that I absorbed growing up, basic forms that quietly composed everything around me, just like happiness and laughter can suddenly wash over you.The figure leans, weighted by heavier circles gathered at its top, circles and faded shapes, triangles, and shade, repeating in a rhythm that produces both visibility and invisibility at once, the very thing we are taught in principle but must practice in living. Beside this leaning form rests a face, avant-garde in construction, inviting the viewer inward to find the small shapes nested within it, obscuring even as it clarifies. It is, unmistakably, a smiling face.What a smile carries, here, is completeness, fullness, the tingle that rises on skin in a true moment of happiness. Small triangles inside the mouth hold that chill, that involuntary bodily proof of joy. The figure beside it, layered in circles and overlapping lines, descends into a faded, smoke-like structure, a shape reaching toward the fullness of quiet, deep happiness, and toward the unknown place of color happiness has always originated from for me, rendered here in blue and purple.The piece is toned and shaded to resemble an aged document, an old key drawing, worn faintly at its lower edge. Happiness, perhaps the truest and most coveted form of living, is treated here not as something new but as something ancient, already inscribed, already scratched into memory long before it is felt - hopefully, when held, once again remembered…remember…to smile.
