So most of my pieces have some kind of a depth play to it. Some illusion, something that you think is in the background, but it jumps out. Or you’ll notice some of the top layers are for the background. So I’m always looking for those twists.Like if I were to take this ad here and rip it out, so now we see the bags. I could use this piece here to help define Marilyn’s leg. And I enjoy that it’s both her legs, but also it could be the big bags.And I want that leap to happen of what you thought was the scale, and then it changes once you get up-close. It feels a little bit like a pleasant vertigo, pleasant sensory thing. That’s the kind of stuff that I’m looking at.And here on the other side, something like that could make her elbow come out. And then before you know it, we’ve got some words that we weren’t expecting.I’m always being open to the possibilities of what these scraps can add to the story. It ends up feeling kind of like a visual poem, where we can make associations from piece to piece. And you’d see them differently every day, your senses would combine a little differently every day.This could also be used up here to form some of her hair. That’s kind of how I work, I pick up a piece at a time and it could go anywhere on there. Wherever it’s going to be the most interesting, like contribute to her form, but just enough surprise where your mind has to fight with it.I like to think of it as kind of like the difference between what you do see, and what you think you see. It’s my psychedelic, art is my psychedelic.
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