 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. |
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 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. |
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 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. |
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 I SHOULD BE SO LUCKY
2010
recycled wrappers, oil, resin on wood panel
60 x 48 inches |  I SHOULD BE SO LUCKY, detail
2010
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 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. |
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 Touch Me, Installation
2009
roofing paper, oil, enamel, resin
variable
|  Touch Me, detail
2009
roofing paper, oil, enamel, resin
variable
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 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 |
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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