WATCHERS 2009 - 2011

While I was working on the Paper Forest, I developed a sense of entities looking over my shoulder. To deal with this, I started making masks, not so much as portraiture, but more as a way of acknowedging the presence of animal and human anestors. I made clay models, over which I layered sheets of wet abaca paper couched from pulp beaten in the Hollander for seven hours. The long beat breaks the fibers down, causing a high shrinkage that gives the paper the attribute of picking up the features of the model; a sort of reverse casting process. To make the trophies, I worked some of the larger masks over castings taken from taxidermy forms.

We use animal masks to evoke thoe qualities of creatures we admire and wish to have for ourselves. Then we capture those creatures we soa admire, domesticate them, lock them in zoos, kill them and mount their stuffed heads as trophies on the wall.

These are the watchers, the masks and the trophies.

 

 

 

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