skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
Through the image of the body as a vessel, one is able to question the relationship of opposing sentiments of pleasure and pain.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
Through the image of the body as a vessel, one is able to question the relationship of opposing sentiments of pleasure and pain.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
In the performance Skin-Scapes I projected the video of my skin on the surface of a white lantern. I think of the video as operating in much the same way in relation to my body that the sculpture does; the video is an extension or mirror of my physical form.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
In the performance Skin-Scapes I projected the video of my skin on the surface of a white lantern. I think of the video as operating in much the same way in relation to my body that the sculpture does; the video is an extension or mirror of my physical form.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
The video entitled Skin-Scapes depicts me drawing a spiral shape and an infinity symbol on my body. There was an intimate and violent interaction between the video images and the performance that mirrors the psychology of the printed images.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
The video entitled Skin-Scapes depicts me drawing a spiral shape and an infinity symbol on my body. There was an intimate and violent interaction between the video images and the performance that mirrors the psychology of the printed images.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
The video entitled Skin-Scapes depicts me drawing a spiral shape and an infinity symbol on my body. There was an intimate and violent interaction between the video images and the performance that mirrors the psychology of the printed images.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
The video entitled Skin-Scapes depicts me drawing a spiral shape and an infinity symbol on my body. There was an intimate and violent interaction between the video images and the performance that mirrors the psychology of the printed images.
skin scapes 2
2010 Creon Gallery, New York
Photography by Norm Hinsey
The video entitled Skin-Scapes depicts me drawing a spiral shape and an infinity symbol on my body. There was an intimate and violent interaction between the video images and the performance that mirrors the psychology of the printed images.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
Through the image of the body as a vessel, one is able to question the relationship of opposing sentiments of pleasure and pain.
The public began to punch the paper with a needle from outside while I was punching it from inside.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
Through the image of the body as a vessel, one is able to question the relationship of opposing sentiments of pleasure and pain.
The public began to punch the paper with a needle from outside while I was punching it from inside.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
The public began to punch the paper with a needle from outside while I was punching it from inside.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
The public began to punch the paper with a needle from outside while I was punching it from inside.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
I projected the video of my skin on the surface of a white lantern. I think of the video as operating in much the same way in relation to my body that the sculpture does; the video is an extension or mirror of my physical form.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
I projected the video of my skin on the surface of a white lantern. I think of the video as operating in much the same way in relation to my body that the sculpture does; the video is an extension or mirror of my physical form.
The public began to punch the paper with a needle from outside while I was punching it from inside.
skin scapes 2
2010 Creon Gallery, New York
Photography by Michael Carter
I projected the video of my skin on the surface of a white lantern. I think of the video as operating in much the same way in relation to my body that the sculpture does; the video is an extension or mirror of my physical form.
The public began to punch the paper with a needle from outside while I was punching it from inside.
