I am interested in the logic of fortification in physical and symbolic terms.

 

The Wrought-Iron Gate series consists of graphite-on-paper drawings. The gates' precise symmetry suggests perfection, craftsmanship and old world values. They are also exhaustively decorated: they may reference heraldry or appropriate royal symbols, like the fleur-de-lys. By drawing wrought-iron gates, I aim to highlight their dual puposes: physical (to protect wealth by regulating the movement of estates' inhabitants and outsiders) and symbolic (to signify wealth, power and traditional values via old-world craftsmanship).

 

By using mechanical pencils, rulers and triangles, I mimic architectural renderings: clean, minimal, informative. When framed, architectural drawings are displayed as symbols of high taste. The illusion of grandeur extends to the choice of picture frame: ornate, expensive-looking, tastefully aged.

 

For me, heraldry, estates and even old-world traditions are indications of power and wealth. More than just money, wealth is passed down from generation to generation. Naturally, immigrants who arrived earliest in U.S. history and benefitted most from racial, legal, economic and educational privilege have acquired the most wealth, along with the most urgent desire for protection.

 

I am fascinated by the drive to fortify and the idea that if something—wealth, a way of life, the concept of a majority-white nation—isn't protected, it will surely become irrevocably lost.

Images

1. Wrought Iron Gate #1, 2006, graphite and wine on paper, 17"x14"
2. Wrought Iron Gate #2, 2006, graphite and wine on paper, 17"x14"