Essay on Creative Practice Within A Personal And Critical Context

Essay on Creative Practice Within A Personal And Critical Context

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Mason Gross, Rutgers
In 300-500 words, discuss your creative practice within a personal and critical context. Please include why you believe graduate study at Mason Gross will contribute to reaching your artistic growth and personal/professional goals.


In order to focus on the initial unconscious pressure behind a carnal desire my current work takes the visual manifestation of the desires and redesigns it until the intimate act looks enigmatic. Within a culture of manufactured pleasures I am looking for a honest reality behind desires, specifically regarding physical intimacy. Images that feel the most gripping to me deliver a feeling of repulsion and attraction. Relative to an interest in Mapplethorpe 's photographs, I am playing with the dichotomy of form and content. People 's’ perceptions on beauty, gender roles, morals, and their own desires all become a part of my focus. A few of my influences are Ivan Albright, R. Crumb, Trenton Doyle Hancock, Kara Walker, John Wesley, Peter Saul, John Currin, Gerald Davis, Ellen Altfest, Hendrick Goltzius, Fragonard, Kafka, Allen Ginsberg, James Joyce and George Bataille. Within the earlier work there was a critique of ideas regarding sex; through themes of shame and judgement, but now these interests are peripheral. So that content comes through more potently than the form, lately I have been making images in a graphic style of figures with unabashed desires who are in the zone,.
I have been breaking down and refining what I am interested in through this graphic style, and in graduate school I want to continue these endeavors while reimplementing my interest in color. Additionally I am interested in the bridge between graphic novels and fine art, abstracting representational forms; by ...


... middle of paper ...


...hat the final product can be an image all its own. Novelty is always an important factor in this series of work, especially within the nonlinear narrative “How nice to meet you.”
This body of work is part of an introspective process. I want my viewers to empathize with the characters with how they show vulnerability and exemplify power by their confident display of unabashed desires. I want to put work into the world that participants in the dialogue of physical intimacy and expands the discussion. Some of my influences I converse with are Ivan Albright, R. Crumb, Trenton Doyle Hancock, Kara Walker, John Wesley, Peter Saul, John Currin, Gerald Davis, Ellen Altfest, Hendrick Goltzius, Fragonard, Kafka, Allen Ginsberg, James Joyce and George Bataille. Ultimately I hope to aid in the conversation of understanding ourselves as complicated yet habitual human beings.




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