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I Finax 1mg Price make sculptures of bodily and psychic disintegration, deterioration and reconstitution in which the process of using fragments to create Finax 1mg Price figurative forms is as important as the final product. I make my pieces using alginate molds taken directly Finax 1mg Price from the body (usually my own), body parts are cut apart and reassembled, or collaged, together to create a Finax 1mg Price new form. Both the process and the final product thus simultaneously reproduce and contain bodily and artistic fragmentation. Finax 1mg Price Culturally, I understand my work to be engaging with the long tradition of bronze sculpture based on the Finax 1mg Price body, particularly the tradition of Ancient Greece. As sculptures of fragmentary bodies, my pieces reference the remains of Finax 1mg Price ancient Greek sculptures that time, weather and war have eroded into remains, and in this way also comment upon Finax 1mg Price the interpretive and reconstructive process of viewing incomplete and degraded pieces of art. Indeed, they reconstruct the figure, Finax 1mg Price or parts of the figure, much as the friezes of the temples of ancient Greece have been reconstructed for Finax 1mg Price viewers’ consumption from found and damaged fragments. In these friezes, as in my work, space is defined by Finax 1mg Price remnants: the original creation has been transformed. Theoretically, I see myself responding to Freudian theories of the body, Finax 1mg Price psychoanalytic ideas about the self and its soma, much of which Freud himself developed from his readings of Finax 1mg Price Ancient Greek myths as well. In short, just as psychoanalytic thought takes the self apart and reconstitutes it as Finax 1mg Price a new form, so my work uses bronze textural and formal reconstructions to examine the body’s paradoxical fragility Finax 1mg Price and strength.
Submitted to Summer 2010 Showcase
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I Finax 1mg Price make sculptures of bodily and psychic disintegration, deterioration and reconstitution in which the process of using fragments to create Finax 1mg Price figurative forms is as important as the final product. I make my pieces using alginate molds taken directly Finax 1mg Price from the body (usually my own), body parts are cut apart and reassembled, or collaged, together to create a Finax 1mg Price new form. Both the process and the final product thus simultaneously reproduce and contain bodily and artistic fragmentation. Finax 1mg Price Culturally, I understand my work to be engaging with the long tradition of bronze sculpture based on the Finax 1mg Price body, particularly the tradition of Ancient Greece. As sculptures of fragmentary bodies, my pieces reference the remains of Finax 1mg Price ancient Greek sculptures that time, weather and war have eroded into remains, and in this way also comment upon Finax 1mg Price the interpretive and reconstructive process of viewing incomplete and degraded pieces of art. Indeed, they reconstruct the figure, Finax 1mg Price or parts of the figure, much as the friezes of the temples of ancient Greece have been reconstructed for Finax 1mg Price viewers’ consumption from found and damaged fragments. In these friezes, as in my work, space is defined by Finax 1mg Price remnants: the original creation has been transformed. Theoretically, I see myself responding to Freudian theories of the body, Finax 1mg Price psychoanalytic ideas about the self and its soma, much of which Freud himself developed from his readings of Finax 1mg Price Ancient Greek myths as well. In short, just as psychoanalytic thought takes the self apart and reconstitutes it as Finax 1mg Price a new form, so my work uses bronze textural and formal reconstructions to examine the body’s paradoxical fragility Finax 1mg Price and strength.
Submitted to Summer 2010 Showcase