How did you get the idea for this type of art?
I wanted to see what it would look like to put black paint down on shadows. Soon it evolved to painting all the colors as they existed in a 3D space on top of themselves. I realized that by painting in this style, I was able to seemingly collapse depth, making the entire scene, human and all, appear to be a 2D painting.
What famous artists have influenced you?
I love Robert Irwin’s explorations of shadow and perception. His biography, “Seeing Is Forgetting the Name of the Thing One Sees” has been highly influential in the development of my work.
What is the most difficult part of your job?
That once it’s done, it’s done. You can’t go back and use fresh eyes to touch things up. This is really challenging. Sometimes I’ll make what I think is a perfect painting and then when I later look at the pictures, I might notice a stray brush stroke or something has gone weird. Because I don’t paint in photoshop, whatever photo I snapped, that is what I’m left with to exhibit.
It’s not a static painting, but a real person, so there are the awkward in-between moments. There are eyes half-closed, and people that are having bad hair days …in a traditional painting there’s no such thing as a bad hair day unless it’s an intentional decision.
What is the goal that you want to achieve this year?
I’m working on a couple of tech collaborations playing with augmented reality as well as virtual reality. I’m creating some tessellating shape tiles as a design toy that helps build spatial intelligence. I’m also turning my house into a funhouse. My pantry doubles as a mini disco hall and my bathroom closet have a neon jungle that demands special diffraction film eyewear that turns the world into rainbows.
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Photo. Alexa Meade