I remember holding my conch shell in my teen bedroom and putting it down as I grabbed my pencil in the actualization of this concept that was coming around, thoughts of energy building to a point, thoughts of aggression towards existence, I had this silly putty type toy that when you stretched the stuff apart little specks would statically fly off the ripped point, which helped me with the tip. I hate to say it but it was also a sort of "f*** you, God" to be taken instead as f*** anything that would make a prison of my body. there was more detail on the surrounding canvas, but this one was stolen from a storage room at a shelter, memory stick was erased by someone I was with for a while. there was a drawing of my face to the left of it with an elephant trunk off the mouth going around and up into the shell, two children were sitting attached at the hips like conjoined twins and one was choking the other, there was a tiny child coming out of a circle, that bottom left part is the top of a bunny/scissors/duck in the style of Bunny, my stuffed rabbit. I still have the part that shows the woman on cross and tree woman pointing in front of her, she was facing the twins. also, I see the arms as drawing themselves in, collecting souls to project them to heaven, bringing things back in instead of bleeding them out, (why avoid the overpopulation word now?)

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Comment by Resident Curator on September 12, 2017 at 5:02pm

Curator’s Comments: 


I admit to being overwhelmed by the statement accompanying the piece Energy; the drawing has an enigmatic quality that can’t easily be captured by words.  I do appreciate the insight into the original subject matter that inspired the piece- I see the conch shell as not only the most primary to the piece, but the twisting and enveloping form turning away from the viewer is a great metaphor for the mystery of the multi-faceted imagery.  I also enjoy the delicate line work that almost dissolves against the graduated and sweeping blue ground.  The piece titled Mannequin also exhibits a beautiful and sensuous line quality. It’s interesting to note that the piece was done from memory, and of an inanimate body, as there is a considerable expression of life in the gesture.  The circular dots at the shoulders hint at a mechanical construction, but could also represent the pressure point of shifting human bones. 

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Ms Kristen T. Woodward critiques of members art.


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