Consider the physical and software prep work that we do to create our social media presence. As the Internet progressively invades our psyche, online identity is a major component of ego. Are we the same person in physical reality as we are online, or is there a new dichotomy of self? Where is the real me?
The Kiss /
I continue to sketch in software to build up a portfolio of images, the best of which I will select for mixed media production. I am meanwhile developing a new technique that combines inkjet printing, image transfer, screen printing, and layered acrylic painting. My goal is to reproduce a multi-layered Photoshop aesthetic but with trace of the a human hand. Inkjet printing alone is not enough for me.
I've been studying Imago relationship theory lately. My readings inspired this image. Here's a summary of Imago pulled from Wikipedia:
"Imago therapy focuses on collaboratively healing childhood wounds couples share. According to Hendrix and Hunt, the human brain has a compelling non-negotiable drive to restore feelings of aliveness and wholeness with which people came into the world. It is believed by imago therapists that a person's brain constructs an image of characteristics from their primary caretakers including both their best and worst traits. The brain's unconscious drive is to repair damage done in childhood, needs not met, by finding a partner who can give us what our caretakers failed to provide. This is why traits of a future partner often reflect our parents' traits. Our unconscious drives towards this to seek healing and to resolve unresolved childhood wounds, in order to grow. In this way, wounds received by a person, from their parents, tend to be re-stimulated by new adult partners and potential partners. The re-stimulation triggers old, unresolved emotions. Both people in the relationship can learn how to heal one another, and appreciate each other for the person they are--and--it takes time. Couples must engage in a specific type of dialogue for Imago therapy to work. The conscious self may not be able to see and understand clearly the reflection of unresolved parental issues in his or her current marriage partner. Nonetheless, our unconscious connects with this person in its best (unconscious) effort to heal old wounds and allow love into your life again."
By Lakshmi SupriyaJul. 7, 2017 , 10:30 AM
Emperor penguins are known for braving the harsh Antarctic winters, but they might not be able to brave the harsh realities of climate change. That’s the finding of a new study, which suggests that by the end of this century, the world’s largest penguins may be no more. Previous research suggested that rapidly warming air and sea temperatures—which melt sea ice—might cause their numbers to plummet by as much as 19% by 2100. But a new model looks at other factors, including how individual penguins deal with climate change by migrating to places with optimal sea ice coverage. In their model of potential penguin migrations, researchers looked at how far penguins typically go and what factors figure in their decisions. They used data previously collected from Pointe Géologie in Antarctica along with satellite images of penguin colonies that revealed information about their traveling and foraging behavior. The model projects that for the next 2 decades, populations will remain stable, and may even increase slightly as the penguins move to locations that are more habitable. After 2050, it all goes downhill. Although the rate of population decline may vary, by the year 2100 almost all emperor penguins may be gone, the researchers write in an upcoming issue of Biological Conservation. That’s because climate change will have rendered all their habitats inhospitable by then. Gaining endangered status under the U.S. Endangered Species Act, the scientists say, may be one way of arresting what might otherwise be their final march.
I created five unique versions of this print during my summer residency at Otis College of Art and Design. This work was made possible thanks to support from Creative Capital, Otis College of Art and Design, Ronald Feldman Fine Arts, and volunteer models. "The Raft of Medusa" (1 of 5) will be donated to the Leonardo DiCaprio Foundation 2017 auction to raise money for environmental defense and climate change activism. For more information about the auction, please contact Lisa at Schiff Fine Art (firstname.lastname@example.org or (646) 478-8561). For more information about other prints in this series of 5, please contact Marco Nocella at Ronald Feldman Fine Arts (email@example.com or 212-226-3232).
Painted in 1818-1819, Théodore Géricault’s “The Raft of the Medusa” is a masterpiece of human error, desperation, and resilience. I recreated this legendary artwork for the purpose of climate change activism. I used a raft made of trash, rising ocean levels, and a carbon-saturated atmosphere to situate 21st century people adrift on a dangerous sea that they largely ignore. One occupant of the raft looks distressed, but the others are preoccupied with their cells phones or focused on other people. My message is reinforced with sea snakes and electrical cords that remind us of Medusa, the mythological woman who was cursed by Athena for her insufferable vanity.
Above: details from The Raft of Medusa (1 of 5), 2017.
Below: Images from my process of creating "The Raft of Medusa" series of 5 unique prints. The first three images show the raft that I built from trash collected in Los Angeles. The people are volunteers who came separately to be photographed on the raft. Using Photoshop, I collaged everyone into a single, coherent composition that I printed onto canvas using an Epson archival inkjet printer. Next, I created films for each design and color layer of silk screen. I burned a series of screens that I used to print "spot colors" of designs onto the canvas that add depth and texture to the rising ocean, the carbon-saturated sky, the electrical cords, and the serpents of Medusa. I screen-printed onto my inkjet print because I wanted to make nature and electricity literally encroach upon the raft and its occupants - who represent all of human civilization. Sadly, humanity is largely self-absorbed and unresponsive to the crisis of climate change.
Above top row: three volunteers from the community of Otis College of Art and Design who individually posed for The Raft of Medusa (2017)
Above middle row (left to right): my digital master file, selecting negatives for burning screens, applying photo emulsion to a silk screen. Photos of me working on the piece are courtesy of Antonia Jones of Los Angeles.
Above bottom row (left to right): rinsing my screen to reveal an image, registering my canvas prior to printing, pulling ink through the screen to print on the canvas. Photos courtesy of Antonia Jones of Los Angeles.