My images are the site of paradox. Beauty on the surface is pitted by the turmoil underneath that bubbles up serendipitously through the thin surface of the image. This work originates on the other side of the mask, like looking out through the car windshield on a dark rainy night. The world outside is transformed through the streaks of rain.
As a shadowy reflection on that distorted image, I see my own face, and I feel as though I am looking at the inside of the mask. The facial image is torn by shreds of the outside world flowing down the windshield with the pouring rain. This is not a crisp, bright image in a mirror, but hints of a image that pulsates with the sheets of rain. It appears to be the animating force peering out from behind the shadows of the streetlights, even more clear with the strikes of lightening. The image as spirit has been summoned up by the ritual pounding of the rain and the cover of the darkness. The body is a conduit to other worlds, a vehicle of connection with the natural environment, embodying the reverberations of memory and the resonance of the spiritual future. As with Aboriginal ceremonial dancers, the light of fire protects the secrecy of symbolic forms painted on the body.
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under the direction of Bonnie Mitchell and the SIGGRAPH Communications Committee.