Blaise
Angelo
Sodano
I want my work to be felt through the mouth and teeth and tongue. It
should tickle your back one vertebrae at a time, making its way to the base
of the skull and back down to the coccyx. Psychic communion with the
material world makes the art more impactful and is a crucial component to
my body of work. I touch all the material with my hands at one point or
another, the nails on my fingers are teeth and they gnash the material into a
more visually consumable form.
should tickle your back one vertebrae at a time, making its way to the base
of the skull and back down to the coccyx. Psychic communion with the
material world makes the art more impactful and is a crucial component to
my body of work. I touch all the material with my hands at one point or
another, the nails on my fingers are teeth and they gnash the material into a
more visually consumable form.
The digestion of pre chewed food is off putting to most save for the
toothless and that is precisely those I aim to feed with my art. Those
writhing lips who begrudgingly were separated from their bite. The mouths
who would not be fed otherwise are starving for my gruel and I aim only to
please.
toothless and that is precisely those I aim to feed with my art. Those
writhing lips who begrudgingly were separated from their bite. The mouths
who would not be fed otherwise are starving for my gruel and I aim only to
please.
Blaise's work features ideas of spiritually, programmed artificial intelligence, synthetic lifeforms, ritual acts, laughter as blasphemy, and jars of worms. The rips and jagged edges are pushed to the forefront of blaise's work as fantastic wounds professing a kind of everlasting suffering. blaise aims to freeze the decomposition of the materials - during the precise moment of execution – where something is given life while simultaneously destroyed. The slobbery drips and toothy smiles bundled in thin skin writhes in agony and ecstasy; a place where pain is in the eye of the beholder.
