How often do you question your existence or the existence of others? Can we ever feel completely certain of the external world (or even our own inner world)? The following visual art series, “Disintegral,” focuses on the alienating effects of dissociative disorders, in which the sufferer feels fragmented, solipsistic, and unreal. “Disintegral” focuses on this fragmentary feeling through a series of pen and ink drawings.
The following inventory project is intertwined with the pain of restricted freedom of movement in this current health crisis period. From this grounded place, a longing for intimate places outside the confines of the home arises. Each of these images is part of an inventory count of moments that were taken for granted and are no longer so.
The question of “why do we protest”? is easy to answer. When and how we protest are more complicated questions with blurred lines and no easy answers. What are the results from lines crossed or limits reached? How does the severity of the injustice relate to the medium of revolt? In these works, the artist investigates the methods of loud and quiet violence that are the result of public and private suffering. He takes a look at the scene without context, so we may ask “what emotions bring individuals to this point and how do we react upon seeing it expressed”?
The following photo series revolves around the act of picking and giving flowers in the time of a pandemic. Romance, decorum, and aesthetics are all shifted in the health crisis.
Nature holds a lot of power that can teach and inspire us, as evidenced by all the folk tales involving animals. Making art helps me think about how we get along with animals and how we can change our lives to be more like them. One of the many things animals have taught me is to be adaptable—to change with my environment and to make art that changes with my environment, even using materials from it. Like a bird making its nest! But another lesson from animals is that of stillness, as I’ve been reminded during quarantine.
The world is gradually trying to recover from a pandemic that has resulted in one of the most severe global economic crises and therefore, quite naturally, arts and cultural heritage sectors have taken quite a major hit all over the world. Yet, what is truly amazing is that it has not dampened artistic spirits. What has dawned on all of us by now, surely, is that science and technology will get us out of this situation one day, but it is the arts, culture, and humanities that will get us through this tough time right now.
Are we more than the bodies we exist within? How do our bodies impact the experiences we have and what kinds of tolls do our experiences have on our bodies? As humans, we are bound by physicality—but, are we? Makeup, plastic surgery, donor transplants, gender reassignment surgeries, etc. have already altered our relationship with our physical bodies—but what about AI and its future impact on the body? Will we be able to transcend beyond our corporeal limitations one day? There is ethereal light shining for those with eyes to see our corporeal reality.
How do different art forms affect both the viewer and the creator? Is art an integral feature of the human condition? What does it mean to be an artist? We asked a digital artist these questions and more in an interview about art and its essence.
These watercolors aim to capture the prevalence of death and decay in our daily lives, but also show how even now, we blend it into the background, not wanting to look. Halloween and fantasy help us come to terms with death being all around us by letting us engage with the frightening and alien on our own terms, giving us a sense of control over our loss of control. Additionally, Halloween’s creative side reminds us that death and decay provide opportunities for new growth and life.
In this living state of existence, we are constantly faced with the inevitability of death, although our self-preservation instincts may try to avoid the topic until its inevitability becomes unavoidable. Memories fade and evolve, and we must ponder that which is lost or forgotten as much as that which is remembered.