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Academic Level at Time of Creation
Senior
Date of Creation
Fall 11-15-2024
Artist Statement
Art is a language— a form of communication. It is a way of explaining yourself, exploring how you view the world, what you find important, and how you feel about these experiences. For as long as I can remember, art has been an outlet for me to express my own lived experiences. Art allows me to visually process the thoughts and emotions that we experience through everyday living. Creating art is baring the soul, and with art being a visual medium, it allows for an understanding that goes beyond words. We as human beings exist in a complexity. We are all so similar in our behaviors yet we are so uniquely ourselves.The bond human beings share is one like no other within this complexity. We rely on each other, we relate to each other, and we love each other. I reflect this relationship through art. To love art is to relate to it, so then we may rely on it. One of the biggest influences in my work is my transgender identity. As a non-binary person, I am very aware of how others perceive me and my body. I have gotten very good at identifying if others view me as a male or as a female, and how my identity changes based on others’ perceptions of me. Oftentimes I have to play into those perceived genders to keep myself safe. This awareness of my perceptions can be seen through the inclusion of my body in my works. There are two aspects that make up humans, the mind/soul and the body. Oftentimes it is easier to identify others simply as their body. These are not two different things, in fact they are one in the same. You are the body you inhabit. By creating art that portrays the figure, I connect the body and the soul. The works of Egon Schiele and Jenny Saville are also great influences on my works. These two artists have such an extreme understanding of the human body that it allows them to push what the figure looks like into abstraction. In regards to Schiele, I find myself drawn to the works where he depicts skinny figures with exaggerated bones. Along with his textured application of color, he is able to create borderline grotesque works that explore human nature as well as sexuality. In a similar way, Saville’s works also come across as graphic. Specifically, her influence in my work comes from the way she paints skin. She is able to create an accurate depiction of flesh while also abstracting it to create an overwhelming presence in her works. With these two influences, I deepen my understanding of the concepts of human perception as well as individualistic change. Through the use of oil paints, addressing and accepting these changes becomes easy. With the slow drying oil paints, it’s important to understand when a piece no longer requires constant manipulation. I spend long periods of time with each piece, forming a relationship with them. This relationship is formed through the layers of paint that are built up onto fabrics I use as my canvas. Through this process, I give life to my works, allowing them to exist and have a presence. This relationship can be reflected onto the viewer. You are a body who has a presence, you are allowed to take up space and you are allowed to exist. To be is to be perceived. In order to connect with each other, we must be willing to understand each other. We will never be able to completely understand one another because of differing perceptions, but we must keep trying. Through art and communication, I can understand myself, others, the world, and the experiences we share. I do not make art alone, and I do not live alone, for I am the company I keep.
Advisor/Mentor
Jessica Fife; Sarah Martin; Scott Cook; Mike Martin
Description
Oil Paint and Screenprinting on Fabric with crochet, lace and sewn elements. 117”x 155”x 140”
Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Recommended Citation
Hammer, Wesley, "It's An Honor to be in Your Presence" (2024). B.F.A. Practicum Exhibition (ART 498). 141.
https://digitalcommons.murraystate.edu/art498/141