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Cognitive Disonance; Issac and Abraham

These works are about translation and interpretation and the perceptual shifts that occur in the process. I am specifically attentive and interested in areas where the translation doe not fit the media, framework or the expectations of the translator. This interest is directly related to my constant and restless search for answers and a deep level of uncertainty. I tend to process ideas through drawing, Spanish, English, painting, performance, painting, digital imaging, and photography because each offers a different point of view.

I am interested in complicating and confusing my bodily understanding of the media and look for failure and erasure of culture, identity, and clear-cut ideas. I am very suspect of minimalist and reductionist tendencies and prefer to complicate easy answers.   

The 8 drawings below evolve out of my initial angry reaction to the death of one of my students. Initially I blamed the racist society but as the work continued to evolve categories like; immigration, abuse, education, poverty, enabling, schema, cognitive dissonance, accommodation and assimilation both physiological and sociological, class, curriculum, multiple intelligence and second language acquisition and its relation to cultural acquisition, differentiation, where fleshed out through the different media and lens used. Each layer is a new translation formatted and influenced by the medium and the concept explored.

My interest is not to complicate for the sake of confusing, but to expand my categories outside of what I thing I know. 


The drawings below, are meant to be projected in at least 5 walls and present the image at the entrance into the room, to create maximum points of entry for the viewer along with an artifact of the process (rocking chair or tricycles). This allows the viewer to select between text, 3d object (witch they can sit on), or images. The most inefficient viewer friendly, approach is to present the drawing (digital print) by itself in a white wall. The projected images should change every 5 minutes. This is to allow the viewer to enter the drawing either through the text or image. The text to has a dual life as English and Spanish. The different approaches both to image selection and rendering of the text reflect how I feel most of the time. I tend to not focus on any specific thing at a time, images, words and ideas are constantly moving and I make decisions intuitively without much analysis, until I ask a question. Questions tend to solidify my experiences and create a sense of solidity and precision. I want my drawings to force the viewer to perform with the work by asking a question of the work. The projections are a way of letting take apart the process and reorganize it into new formats. 

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