Within my art practice I pursue several trajectories, each may explore twists of behaviors, communication, and how we evolve to fit in or stand out. The work is predominately figurative, with components that read much like a visual game of phone line, which purposefully distorts with each retelling.
Currently, the work is a cut and paste mashup of Greek myths and figurative sculpture coupled with Mr. Potato Head parts, archaic medical illustrations, or appropriated sections of figurative art history along with comics and games glean from my childhood. I purposely juxtapose the refinement of the Greek forms with the cartoon garishness intentionally heightening the tension with a satirical sense of humor. The fabrication process of mixing materials adds to the jumbleness. One series, “The Potato Heads” are constructed primarily from hand-built earthenware “potatoes” with porcelain Greek anatomy additions that are affixed imperfectly. Each material bringing its own historical content to the work. Earthenware, with its humble association with garden planters and rich history of ancient pottery that is hand formed while porcelain has been associated with delicate fine china and beauty. In the “Greek Portrait” series, the Greek figures and myths are the base, with components of enlarged, brightly colored cartoon anatomy being layered leaving some evidence of the building process intact to evoke that the work is evolving much like people. The intent is to distort the popular myths and create an association to contemporary issues dealing with mental health, gender identification and sexual orientation. Using humor in conjunction with iconic Greek references, which has such deep associations with perfection, beauty and heroism breaks down those stereotypes.
As with my previous work that relied on distorted figurative constructed elements and imagery, the building process is left evident to guide the viewer and impact the narrative through the segmentation that occurs within each constructed piece. Each angle of the work offering another plot twist. Each series develops from the previous project in an erector set fashion linking fragments to one another in a network of ideas, they may collide or be tangent to one another, yet with childlike wonder the viewer often finds that what is believed to be obvious becomes a fantastical journey defined through abstraction.
Artist Stacey Wexler received her Bachelor's of Fine Art in ceramics from The University for the Arts in 1983 and was the recipient of several awards for artistic achievements, including the President's Purchase Award. She graduated from Claremont Graduate University with a Master's of Fine Art in sculpting in 1985. Wexler’s work has been exhibited at venues throughout the United States and internationally, including Italy, Germany and Russia. After graduating she worked in the entertainment industry producing sets and props for twenty years, before attending Art Center College of Design with a specialization in computer graphics Currently, she is an adjunct associate professor in the Visual & Media Arts department at Los Angeles City College, Los Angeles CA.
Follow me on Blogger