Quotes From Participants

“I felt like a superhero. I felt like I should go and fight crime.”

“There is no sense of time. I don’t know what time it is and I don’t really care.”

“This is how I feel on the inside. I’d like to be more nude, feminine, and bold but I censor myself all the time. This space and context gave me permission to be more myself.”

“I allowed myself to objectify myself in a way that complicates my subjectivity. I got to blur the line. I am a subject man painted as an artistic object – as a “weird” non-gendered object.”

“I loved having the people look at you, but the irony is that they are not really looking at you, you are really looking at them.”

“I felt completely safe. Normally, I always want to modify something on my body. But the paint feels like armor, it feels like it covers me.”

“I don’t know what the purpose of this was. In life everyone is trying to figure out a purpose for everything, but in this particular experience there are no expectations of purpose.”

“The beauty I feel hasn’t been covered, but it has accentuated my beauty. Uncovering another layer of beauty.”

“You become more aware of your body without actually caring what it looks like”

“The interesting part is that there was no reason to do it”

“I didn’t know what I looked like so that was a huge weight off my shoulders.”

“It felt restorative – like a baptism, like walking in the ocean, or a mud spring.”

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  • BLACK & WHITE
  • COLOR
  • PRINTS
  • BODY PAINTING

Painted Stories, Spirited Bodies

As I paint directly on their skin, a conversation weaves through a delicate exchange between the participant and I. The participant’s willingness to be open feeds a creative current and reveals a story. The abstract and transient nature of the paint frees us from rigid and conventional definitions of the body and beauty. For a brief moment an expansive experience is sparked where the participant, the audience, and I can reconsider our judgments and impulses about the human body and our use of physical space. I approach the body not as a one-dimensional static object with typical “x” and “y” curves, but as a feeling and expressive energy. The abstract lines connect parts of the body that are not traditionally connected. Instead of enhancing the person or accentuating preferred parts of their body, I engage in an intentional celebration of the human figure, through the use of simple, colorful strokes, treating every surface as an equal part of a whole and fluid spirit.

View Quotes From Participants

NYU Gallatin Confluence Magazine 2015

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