Work > Rays of Sunshine (Series 2) 2002

contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2013
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002
contemporary painting, installation, whiteness, portrait
Oil, Acrylic, & Graphite on Stonehenge Paper
30x22 inches
2002

Rays of Sunshine (Series 2) builds on the idea and process initiated in the first series through a hyperbolic gesture of sameness. By using only two portrait sources from Series 1, my attempt is to introduce the familiar prejudiced statement “you all look the same” as a way to navigate through my own held prejudices on whiteness.

The indexing gesture of name, height, and weight is also included, but this time names are randomly selected labeling the two identical repeated portraits. The grotesque nature of the images is amplified through the drawing/painting process as a way to heighten an instinctual quality in the images. There exists a visual modulation between the "smiling portrait" and the "scowling portrait" which offers a relational rhythm for interaction with the images.