The relationship between money and nature is the theme of this series. Made of money from all over the world, these pieces explore the beauty of the natural environment and it's breakdown for profit. Some pieces in this group are three-dimensional and free-standing, while others are encased in shadowboxes. Several of the pieces use antique nature prints collected from several places.
The relationship between money and nature is the theme of this series. Made of money from all over the world, these pieces explore the beauty of the natural environment and it's breakdown for profit. Some pieces in this group are three-dimensional and free-standing, while others are encased in shadowboxes. Since everything was constructed from money, I was surprised and inspired as the color palates and unexpected graphic elements began to emerge in each piece.
I enjoy combining art with my love of history. This group is based around classic baroque paintings of people and their pets. The connection people feel with their pets was as obvious then, as it is now. I decided that I would try to express this sentiment, as much as possible.
Each piece is made entirely out of paper. The greatest challenge with this group was to create the illusion that the central figure had left the painting, and reappeared with the person’s head replaced by their pets. I wanted to blend the animal’s and the owner’s personalities, in a way that captured the mood that the painting gave me. With this group almost every piece of paper was dyed to match the fabric in the painting.
I have chosen Venice Italy, as the backdrop for this group of work. I portrayed the lives of 10 prominent women, who lived during the long decline of Venice as a major world power. It was a period of great decadence, elegance, and beauty.
With varying backgrounds, each women was adventurous, and often challenged the social mores and ideas of their era. After much research, I worked to reconstruct the aesthetic of the period and each woman’s personal and historical circumstances. Among the women, I included the first woman in the world to earn a doctorate degree; two women who spoke out boldly for women’s rights, an artist who traveled the world painting European nobility, and Casanova’s mother, an actress, who left her family to follow her career.
Although every part of this group is made solely with paper, they appear to be constructed of precious metals, made opulent with jewels and stones. I selected a color palette to reflect the historical period, in hopes of bringing the viewer back to this fascinating period in Venetian history.
Each piece is accompanied with a small booklet that features a portrait of the woman on the cover. Inside is a quote, either by the woman, or a quote written about her by one of her contemporaries.
This group was inspired by the lives of real people from history. For this show, I researched the New York Times from 1880–1910, and found myself drawn to the peculiarity of certain women, and their fleeting narratives and lives. From these articles, I tried to reconstruct the aesthetic of the period and each woman’s personal and historical circumstances. Each piece is accompanied with a copy of the article from which it was conceived.
The average height of each character is about 15 inches tall. They are entirely made of paper that I have dyed, painted, and manipulated. I also selected a color palette to reflect the historical period, in hopes of bringing the viewer back into the streets, houses, tenements, and storefronts that these characters inhabited.
With this group of work “The Artists’ Muse,” I chose a broad historical range, to provide an overview of the differing and convergent relationships between artists and their muses. The painting that inspired each piece is mounted and framed, and stands behind the artwork. The fifteen-inch figure—with clothing and various accessories—has been recreated in paper, with every possible detail.
With this group it was necessary for me to explore new ways of replicating costumes in paper. I made great efforts to create a sense of connection between the original painting and my own work. Each piece is accompanied by a written biography of the muse and her relationship with the artist.
It’s my goal to give a voice to the overlooked muses of famous paintings, and through my artwork, illuminate some of history’s forgotten women. I hope that the viewer is not only moved by the intricacies of detail that I put into my work, but will learn something about the women who inspired, nurtured, and loved the artists who created some of the most beautiful paintings every made.
This show drew from the life and cultural setting of the giantess, Elizabeth Lyska, who became famous in the late 1880s. Born in a small and impoverished Russian village, Elizabeth started growing rapidly at the age of 4. By the time she turned 11, she was well over 7 feet tall. After the death of her parents, her uncle became her promoter and arranged tours for her throughout all of Europe. Wherever Elizabeth traveled, she became the center of attention—to scientists, suitors, and pedestrians—for she was not only famous for her size, but was also considered very beautiful. Made completely out of paper, Elizabeth stands at her actual height of 7’2”. Surrounding her are the many relics, toys, and keepsakes that she accumulated over her life: Each piece is accompanied by a narration—fabricated by stray facts from newspapers, books, letters, and diaries, and written by her son, Tynan Kogane.
This group of art is generated from the stories of real people who committed crimes, as reported in the New York Times between 1885-1915. Each rogue is captured entirely in paper and stands 12-14 inches. They are sold accompanied with a copy of the original article.