Providence, Rhode Island, US
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Sunnse 70 draws from scenes in and around an industrial park where I worked in 2015, and on the back roads of upstate New York . where I grew up. By examining and processing image through silkscreen, graphite, sumi ink, and photocopy, a fallen tree or a series of drain pipes enters a new place, where I can realize just how little I know of that fallen tree or series of drain pipes . I confront the immediate reaction that these scenes elicit in me, a feeling of uncertainty of my own presence there, then work to view them as places and things that exist outside of my own perception , and build a fantasy narrative resting upon that balance. In the current two self-published volumes of Sunrise 70, the Ox-People long for the same spiritual heights that the Shrinebuilders reach by invading the latter' s sanctums. However, as culturally and molecularly distinct groups , the Ox-People can only approximate the Shrinebuilder's religious experiences, and the Shrinebuilders are forced into exile and a mass amnesia due to the Ox-People 's misguided understanding of their work. The Ox-People's colonization of the Shrinebuilder' s psychospiritual space wrecks the culture the Shrinebuifders have built, and erases their memories upon every seventieth dawn. The Ox-People act under the delusion of a full understanding of the Shrinebuilders and their work. The narrative compares the failure of the Ox-People to recognize and respect an important boundary with my own examination of these scenes through these renderings . The Ox-People fail to admit that there are qualities of the shrines that they do not and cannot know. It's not until they begin to realize this , through the whispers of a supernatural force, that the Shrinebuilders can hope to return from the mountains with their memories. In making these images, then, how do I operate like the Ox-People, blind to my own assumptions?
Ferris, Jeremy, "Splendor Solis Diagrams" (2016). AS220 Digital Archive. 2160.
65 (mounted) / 50
7.5" x 14"