This monoprint diptych draws inspiration from Margaret Atwood's 2003 novel Oryx and Crake, a post-apocalyptic tale that satirizes modern genetic engineering through the eyes of Snowman (left), a withered man who believes himself to be the last human left alive after a worldwide plague. In this speculative world, scientific advancement far outpaces the human empathy that should accompany it, and the result is a populace devoid of emotional connection and overrun with carelessly spliced animals, like the Rakunk (raccoon/skunk) at right. My aim with this project was to explore the rough, disjointed flatness of our increasingly dystopian contemporary world, rendering literary horrors in an inoffensive, blocky caricature representative of our mounting desensitization.
The figures in this series face in the same direction, advancing moorlessly in their surroundings. The monoprint medium in which Snowman is rendered, painstaking and hand-done, contrasts sharply with the futuristic bent of our world, reflecting his (and my) nostalgia for old words and means of expression. Like many of us, Snowman holds onto defunct words specifically in order to express emotion and aesthetic beauty in a world that seems to be moving past them. But no individual's rebellion rooted in nostalgia can bring about a mass societal return to so-called normalcy; in a dystopian reality, the only way out is forward.
"Pointless Repining II," 2019. 23.5"x20". Monoprint on Stonehenge paper.