Parallel Lines Never Intersect No. 1 2009 recycled tape, enamel, glue, resin on panel 36 in. x 48"
HARMONY - DISCORD 2008 recycled packing paper, oil, asphalt, resin on panel 114" x 72 This piece contains 10 separate panels.
Peek 2009 roofing paper, enamel, asphalt 24 in. 36 in.
Parallel Lines Never Intersect No. 2 2009 recycled tape, enamel, glue, resin on panel 36 in. x 48 in.
Parallel Lines Never Intersect No. 3 2009 recycled tape, enamel, glue, resin on panel 48" x 60"
It's Golden 2009 roofing paper, enamel, asphalt 24 in. 24 in.
I SHOULD BE SO LUCKY 2010 recycled wrappers, oil, resin on wood panel 60 x 48 inches
I SHOULD BE SO LUCKY, detail 2010
ALL THINGS WHITE NO. 3 2010 styrofoam, enamel, resin on panel 24 x24 IN.
In the beginning everything must have fit together perfectly. 2008 recycled packaging paper, asphalt,oil, resin on panel 48 in x 48 in.
Touch Me, Installation 2009 roofing paper, oil, enamel, resin variable
Touch Me, detail 2009 roofing paper, oil, enamel, resin variable
ROSE GARDEN- I never promised you. 2007 shredded religious texts, wooden roses, oil and resin 36" x 36"
ROSE GARDEN- I never promised you. 2007
HUMAN STEPS is a dialog, which references the many disparate elements encountered in daily urban life - a metaphor for the way in which dark affects light and vice versa, how the sweet can become sickly if overdone and how close proximity to millions of people, diverse cultures and visual images can both inspire and overwhelm. It is a metaphor for tight quarters, pleasant or not so pleasant meetings and vibrant energy of the city in contrast to shadowy and emotionally difficult places.
For HUMAN STEPS, I use what most people consider garbage as a jumping off place in the work. The materials at one point might have been utilitarian, but were never considered beautiful. The hard, shiny, plastic surfaces often synonymous to commercial objects, would never pass inspection as such. Dirt falls onto the canvases, scratches, cracks, marks occur and there are no straight lines, only the illusion of such. Through the act of turning detritus into “works of art”, or elevating the prestige of garbage, I aim to question the status quo of beauty, worthiness and usability.
--Connie Noyes, 2009