CRUTCH consists of collages and monuments. In both, my interest lies in examining ideas of co-dependency as they translate from public to private and from national to personal. Specifically, the synthesis between religion, state and family. In the collages, the idea of a personal codependency manifests itself as a trap, crutch, or as a state of mind, and is occasionally implicated with religious overtones.

In Sick in love, of love, is love, the light activates these pious overtones. The headless figure on the left is kneeling in front of the carnivalesque figure on the right, which is too large to fit in the frame. I’m drawing a connection between religious belief (the saint, the holy) and the singular state of mind of the controlled or submissive in a codependent personal relationship.

Reminiscent of Hollywood glamor portraits of the 30s, Hirsute appears in his public head-shot in the work Hirsute in search of Hesus. Not only is Hirsute trapped in his body, but also in the search for the impossible.

The monuments I created in this body of work manifested a conflict in their non-ideological pretense. So I destroyed them.