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Paula Henderson
updated: 06/11/2013
website: www.paulahendersonart.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Turning to Stone
Appearances I
Appearances III
Appearances VIII
Appearances XII
5 Foot 9, plus 4
Transformers II
Traffic I
Wheel of Fortune: Domestic Balance
Broad casting
On Air
Enter-prize
Courted: Be Mine
Chicago: The Extended ReMix
New York: The Extended ReMix
 
Portfolio Keywords:  pattern, systems, race, figurative, domestic, political, humor, social criticism, conceptual
 
 
Turning to Stone  by Paula Henderson
Turning to Stone
oil and wax on canvas
2013
69" x  27"  x 1.5" 
Appearances I by Paula Henderson
Appearances I
oil and wax on canvas
2011
60" x  48"  x 1.5" 
Appearances III by Paula Henderson
Appearances III
oil, wax and acrylic on unstretched canvas
2011
57" x  60" 
Appearances VIII by Paula Henderson
Appearances VIII
oil and wax on canvas
2012
32" x  36"  x 1.5" 
Appearances XII by Paula Henderson
Appearances XII
acrylic on unstreatched anvas
2113
70" x  36" 
5 Foot 9, plus 4 by Paula Henderson
5 Foot 9, plus 4
oil and acrylic drawing on canvas
2009
69 " x  26 "  x 2 " 
Transformers II by Paula Henderson
Transformers II
acrylic on canvas
2012
42" x  36" 
Traffic I by Paula Henderson
Traffic I
acrylic on paper
2012
43.5" x  29" 
Wheel of Fortune: Domestic Balance by Paula Henderson
Wheel of Fortune: Domestic Balance
acrylic and ink on canvas
2009
36 " x  36 "  x 4 " 
Broad casting by Paula Henderson
Broad casting
oil and wax drawing on canvas
2008
48 " x  60 "  x 2 " 
On Air by Paula Henderson
On Air
oil and wax drawing on canvas
2008
48 " x  60 "  x 2 " 
Enter-prize by Paula Henderson
Enter-prize
oil and wax on canvas
2007
60" x  48"  x 2" 
Courted: Be Mine by Paula Henderson
Courted: Be Mine
oil and wax on canvas
2007
60" x  48"  x 2" 
Chicago: The Extended ReMix by Paula Henderson
Chicago: The Extended ReMix
graphite and watercolor on paper
2007
40" x  33" 
New York: The Extended ReMix by Paula Henderson
New York: The Extended ReMix
graphite and watercolor on paper
2007
40" x  33" 

Artist Statement

 

            Our shared use of prevalent systems of representation, an important and always evolving part of the social dynamic, works as well to fix and limit our perceptions of one another. My re-arrangements of these forms of representation question their function and authority as a means to elicit or suggest their inherent agency.

            In works organized under the title Great Expectations, I utilize bilateral symmetry in pattern paintings to create a decorative camouflage in which tracings of the contours of male and female media figures are multiplied as mirrored abstractions. The resultant patterns evoke domestic fabrics and act as metaphors for the promotion of media icons imbued with the power to shape the contemporary social landscape.

            My appropriation and re-arrangements of these over-produced images, echoes their ubiquitous presence and growing function as icons of desire. Entertainment productions of sports and fashion are experienced with such familiarity that their determinative nature is masked below their polished surfaces. The cult of the individual has become the cult of emulation. Men are virile. Women are hot- and well accessorized. Evidences of the impact of unchecked media commodification of overtly sexualized female tropes are rife.  Media driven expectations about young men of color are especially fraught in the light of our continuing social disparity.

                        With my ongoing mapping project, I additionally probe the historical authority of maps to determine as much as to describe. Their appearance as neutral representations of the status quo belies their impact on shaping its perpetuation. Their aesthetics obfuscate the actions taken over time to order the worlds they represent. These works from my Re:Mix series (Chicago and New York) were inspired by historical red-lining maps and act symbolically to redress—in space—the images of social engineering that maps represent over time.

            It is the intersection of the histories, practices, and authority of these productions, and our relationship to them, constitutes the conceptual and formal aspects of my work.

    

 

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