• Air (soundtrack 1)
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  • performers from musical Hair
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  • Stranded in the Jungle (soundtrack 2)
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  • Featuring the Cadets
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  • My Way (soundtrack 3)
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  • featuring Frank Sinatra
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adjective, Informal.


  1. confused by obsessive infatuation


           Word Origin: having one's pate (head) in a twitter (confused). First used in the 

         Disney movie Bambi (1942).


Charismatic subterfuge grooms us to worship celebrity, and to view the bloated ego as evidence of strength, relevance and infallibility rather than of foolishness, impotence and delusion. An opportunistic politician with a slippery message, a stiffly coifed infotainment reporter cast in careful stage lighting, a reality TV/internet star with a penchant for shame, a stage mom who commodifies her own child, a criminal made infamous by his heinous misdeeds – all leverage the myth of notoriety and power in their hunt for immortality. 


My work studies the worshiped and the worshiper – as described through the lens of consumer culture, and splashed with a campy flair. Repeated artistic elements and themes thread between the pieces in this collection to create a cohesive whole. For example, the song Air (from the musical Hair) appears as overlaid text in three paintings, and as a sound element in my installation piece Bottom Feeders of the Red Carpet. Additionally, Kanye West can be heard proclaiming from a crafted soundtrack, “I am a robot. You cannot offend a robot,” as Roomba vacuums bumble mechanically around the installation. This collection is meticulously planned to echo print advertisements, billboards, product displays and memes. Politicians and world leaders; celebrity icons and wannabes; serial killers; and cult leaders serve as subject matter, as do vacuum cleaners emblematic of the narcissist. Mirrored, metallic and shiny materials suggest superficiality and delusions of grandeur. The reflective surfaces, strewn throughout, recall the myth of Narcissus viewing his own reflection. They also implicate the viewer who sees his or her own reflection while gazing upon a piece, thus commenting on the consumer’s complicit role in the farce (and potential horror) of hero worship.