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PERSONAL STATEMENT
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Throughout the years, my work has always returned to a central narrative that is ultimately about creating mirrors in which we are most accurately able to glimpse ourselves and the world in which we live. My practice is less about creating new forms or languages, but rather, about recasting or re-contextualizing existing ones in new ways to reveal beauty -- at times, irony -- and ultimately, truth.
For this reason, I consider myself both media-devoted and media-agnostic; oftentimes a particular medium is employed as the primary device for conveying my intent. Similarly, I struggle with whether to classify my work as either art or design, but feels that it lies somewhat uncomfortably between the two.
http://long-winded.tumblr.com
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LEGENDARY BAKED GOODS
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Sugar cookies (flour, salt, baking soda, butter, sugar, eggs, lemon extract) and royal icing (powdered sugar, meringue powder, water, lemon extract, food coloring)
2011-2012
As the daughter of a fine artist, I became familiar with the notion of the art market at a young age -- from the paint-splattered floors of the studio to the pristine walls of the museum experience to the red-dotted laminated price list of the gallery, and everything in between. As an adult, I've enjoyed my role as both ardent creator and consumer, but remain eternally conflicted when considering matters of accessibility and domain. Prior to the holidays I was inspired to replicate modern artworks in royal icing -- democratizing some of the most revered and unattainable works of minimalism, color field painting, and abstract expressionism.*
*Much to my surprise and delight, the Rothko cookies became a minor internet sensation. Aesthetics of Joy's original post was picked up by a number of art and design blogs, including MoMA, Public Art Fund, and The Pace Gallery.
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MISREADINGS
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Digital laser prints, staples
2009
In my apartment, you'll find stacks of books, magazines, and catalogs in every room. Some are perennial favorites while others have yet to be cracked since arriving home from the bookstore or in the mail months, sometimes years, ago. (Mis)Readings attempts to document that which I've actually read. Page for page, every word ingested is replicated in its original typeface and layout. Colors and images have been eliminated. Headlines and drop caps loom large against vast expanses of white; credits and small point legalese rarely appears. What results is a visual record of my own predisposition toward content -- that which is omitted is equally, if not more, significant as that which appears on the page.
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WORK / LIFE
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Balsa wood, foam core, cardboard, paper, glue, fabric
2011-2012
As a member of New York's tech startup community, I am granted unbridled views into the lives of young and ambitious designers, technologists, and entrepreneurs. While individual pursuits may vary, the blurred boundaries between work and life are common to all. These miniature environments were faithfully reproduced in 1:12 scale after the offices (Work) and homes (Life) of such individuals -- Prouvé chairs, coffee spills, and all -- but become virtually indistinguishable from one another when one considers the amount of time we spend tethered to technology. Home is where the laptop is, it seems.
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INVERTED WALLETS
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Paper trash, Tyvek envelopes, rubber cement, zipper, thread
2005
If scavengers know us by our trash, nowhere else is a sense of self more evident than within our wallets. Whether neatly organized or haphazardly stuffed to capacity, these pocket-sized containers hold the remnants of our daily existence. They are our ever-present travel companions -- guardians of our identities, sentries of the vault, silent witnesses to our decadence. I created replicas of my wallet from the detritus of my consumption. FedEx airbills, receipts, a weathered map -- what once was private is now public, what once was trash-bound has been transformed to artifact, what once was ephemeral has been granted permanence. What I hope emerges is a cheeky reminder to value the banal events of our lives, not the manufactured goods designed to conceal them.
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BEAUTY & THE BANAL
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Digital color prints
2000-2004
Big business has long established the value in measuring slippery notions such as consumer desire and market behavior. Across industries, spreadsheets proliferate, making their way into boardroom presentations everywhere. These metrics, represented by an innocuous language of bar charts and pie graphs, can influence executives to rethink strategy or eliminate their workforce. From 2000-2004, as the political and economic climate unraveled, I appropriated this very vernacular in an attempt to codify and exalt the mundane details of our lives. Only once had I composed these pieces was I privy to the patterns of everyday life, revealing truths that are both individualistic and universal in nature.
