The work is representative of both the catalyst and the impacts of this societal catastrophe rooted in unbridled consumption and untenable production. I have been working with resin, due to its versatility. As a petroleum based plastic, this choice of medium causes me to question why I am using a product that I generally try to avoid: plastic. Resin closely mimics the fluidity and form of water, along with its light filtering and color absorbing properties. The small-scaled nature of the works give the viewer the ability to “look down” on the pieces, assuming a power dynamic, where the viewer becomes a god. The resin further allows for viewing in a 360 perspective. I want the viewer to move around the work, look down on it, and question their perceived entitlement to a certain kind of life.
The series raises questions on modern day priorities, specifically consumerism, large single family dwellings and other benchmarks of “success” and emphasizes our lack of will or desire to change ourselves and reduce our impact. The series is helpful in examining elements of a larger story. It is an exploration of my favorite motifs: capitalism, consumer culture, nature and the environment. I am slowly chipping away at the core and getting closer to a deeper understanding.
The physical properties of resin allows the material to have a variety of interpretations depending on what I hope to achieve with each piece. Resin holds similar qualities to water; especially in its glassiness and the way it can highlight an object, even making it appear frozen in time. When natural objects are cast in resin, not only is the object itself preserved, but the clarity of the preservation material can serve to evoke a memory, a walk in a field on a rainy day. By using resin in my work, I hope to tap into more senses than simply seeing water rushing into lives. In other pieces, resin highlights the objects that are used and disposed of in our daily lives, at an astonishing rate, with little thought. The resin freezes these moments in time, giving a sense of finality. Prior to working with the material, I was struck by the thought that if our life ceases to exist, what would the next inhabitants of our planet find? We will have left so much behind. So much potential; so much beauty, wasted, in the pursuit of “things.” Yet, these things, many of them tenets of societal progress, have improved lives. But at what point is it too much? Even in my work, as someone who tries to greatly reduce my footprint, I am using a form of plastic to create art, to spread a message, to communicate that I understand the dichotomy of modern life. Yet, if we are not careful, that life may soon cease to exist.