The Mirror Conspiracy
An Aesthetic Study
As an artist, I often find myself reading artists statements of variouskinds. Time and again, these writings consist of endless babble aboutwhat the artist thinks the viewer is interested in knowing about thework. Usually, the artist is completely wrong about what these thingsare. I do not claim to be any different. In my original writingsfor this document, I will admit that I did my fair share of babbling, mostlyabout my concerns of the art world, i.e. Conceptual Art.

I have found myself in too many museums, completely bewildered by what artistsare trying to say, and most of the time, completely disgusted by what they aregetting away with. Don’t get me wrong, I am aware of the important impactconceptual art had on art history, but the statements people are making todayare commonly irrelevant to society, or if they do hold any significance, it iscompletely lost on the general public. This isn’t even the worsepart. Usually, it doesn’t even look good.

I strive to make objects that are aesthetically pleasing. This, first andforemost, is my goal. I want to make a material thing that can be appreciatedvisually regardless of the viewer’s art education. Why should someoneneed an art degree to understand or feel a connection with a piece of art. Ifeel that my place in the art world is a struggle against just that.

With the use of color and composition I attempt to create a visual landscape thatallows the viewer to tirelessly view the work. Whether it’s a portrait, anabstract piece, something illustrative, a landscape, or a figurative piece, myprimary focus is to assemble a combination of qualities, such as shape, color,and form, that pleases the aesthetic senses. Any conceptual message is insertedas a secondary device, usually for my own amusement.

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