The most literal interpretation of the theme, Baltimore Fashion Renaissance, the “project-titled” proposes a scenario where the garment industry of Baltimore regains its former strength. The bottom third depicts an industrial complex, sprouting from the ground, while rising above it is a play on da Vinci's . The Vitruvian woman is dressed in an iconic yellow jacket that once belonged to Wallis Simpson of Baltimore, who became Duchess of Windsor after marrying Prince Edward of Wales – abdicated the British throne to marry Simpson, the love of his life. In addition to the more obvious inspiration from da Vinci's , the industrial complex is taken from an actual complex here in Baltimore, visible on the right from the 295S exit ramp, coming off of 95S.
is an imagining of an army of mannequins come to life. Currently bare, they long to fulfill their purpose of modeling garments. What's keeping them from being so adorned? They approach somewhat menacingly to ask the viewer that very question. Inspiration came from a behind-the-scenes tour of the Maryland Historic Society fashion archives, the sparsely populated abstract landscapes of Yves Tanguy, and, almost retroactively, long philosophical discussions on the nature of creativity, purpose, and passion.
addresses the rise of automation and, as a result, the gradual erosion of handmade artisanship. Hands work tirelessly around the hem of a dress, as an increasingly industrial world encroaches from the outside. Inspiration came from and (the mechanical hands at the top), the Maryland Historical Society (Fitzwilliam, the baby blue mannequin), and the local landscape (the large rusty earth mover nestled amongst the mountains of ore).
These paintings fit in to a larger, surreal installation.
