The Spanx & Spitfires series of art implies an optimistic cultural winding up of a bastardized world history. Modernism and Postmodernism—from WW1 through the Cold War and into the present—are tightly connected, one winding into the next, where subcultures, avant-gardes, and hyperrealities cycle back onto themselves. Now, we are ready for take-off.
The young French New Wave director Jean-Luc Godard once said, “All you need for a movie is a gun and a girl,” referencing the story contents rather than the narrative. As a play off of his quote, the Spanx & Spitfires paintings propose that all you need for an art exhibition is a girl and an airplane…and a cigarette. The mechanics of narrative require the audience to “roll the camera” rather than watch the story roll by.
My goal is to turn the audience into a bricoleur. The bricoleur is described best by anthropologist Claude Levi-Strauss: “It might be said that the engineer questions the universe, while the ‘bricoleur’ addresses himself to a collection of oddments left over from human endeavors.” The characters and artifacts presented here hope to overthrow the current order. A process of détournement will “outdo” the current regime using its very own visual rhetoric of pop marketing, sex sells, and nostalgic persuasion.
The world we live in, as well as the world I create, is always on the brink of something: the end, a new beginning, a discovery or a hidden past. To manipulate this “other world” is to plant new seeds in our own.