|
|
|
|
Artist Exhibitions:
Education
2006 MFA Painting ,
University of Houston
1995 BFA , University of
Texas at Austin
Selected Solo Exhibitions
2007 Magnificent Obsession,
Irvine Valley College , Irvine
, California
2006 MFA Thesis Exhibition,
Blaffer Gallery, Houston ,
Texas
2006 Small Things in Large
Spaces, Projex Gallery,
Houston, Texas
2005 Encasement:ARTcrawl,
Maripolski Lofts, Houston ,
Texas
...
Further Information
|
|
Artist Galleries:
Coming Soon!
|
|
Artist Reviews:
Coming Soon!
|
|
Collections:
Coming Soon!
|
|
Commissions:
Coming Soon!
|
|
|
Artist Statement for Douglas Cason As Zepeda
|
|
|
words on Zepeda
Where does the responsibility lie for the loss of youthful innocence? We exist in a society that corrupts through in-your-face advertising and commercials pushing sex in subtle and often flagrant ways. Our society is obsessed with sex, but we dangerously repress this, accepting televised violence instead of televised breasts. My works are centered in the blurred middle ground where precarious innocence meets sinister sexuality, gendered power gives way to submission, and forced perspective becomes a vantage point.
How far is too far?
The girls I depict are older than adolescent but their eyes convey lingering immaturity. Their childlike veneer is juxtaposed with sexual representations, pushing the boundaries of traditional interpretations of childish innocence. Originally a portrayal of women's feelings about their sexuality and the adjacent male exploitation, my work has been shifting to a bolder expression of power.
For the show If you use your imagination, big things can fit in small places , a series of boxes chronicled the story of a perverse older man taking advantage of a young woman. The more absurd his acts, the more the viewer is disturbed by the girl's inability to control her situation. Midway through the series, however, the victim becomes the dominator and eventually destroys the man. The final image, in tribute to Salome, shows the doe-eyed girl with a lump on a platter referencing a head.
The power motif carries over to the viewer. To see the work, the observer must lean and look through a keyhole or a reducing lens to view a larger painting behind a wall. The images were configured in forced perspective making the keyhole vantage point the only point in which all angles of the painting would line up to correctly create the image.
Continuing the theme of force, in both the portrayal of lost innocence and in its viewing, several trou de gloire drawings will be presented in a small publication. The publication archives an attempt to elevate the language of bathroom art while being consistent with its base origins. A group of drawings are being produced in lavatory stalls around Houston. These drawings consist of rolling landscapes in the 90 ° fold of public bathroom walls in front of the commode. A perspective system has been employed to create one continuous drawing across the fold when viewed from the fixed vantage point of the commode. Figures will be placed in various stages of intercourse on the side wall-the wall where the distortion is its greatest when not viewed from the vantage point. By having a seat, the distortion is removed and the drawing is complete. The end result is to take advantage of the empty space directly in front of the sitter and create an anamorphic drawing through forced perspective.
|
|
contact artist
