ALEXIA TIMBERLAKE BOYD
I have been exploring the manifestations of the human body as vessel, as tool, and as found object. In the last two years, I have been more interested in going beneath the skin. The correlation between of the opening of a flower and the opening of the body, animal or vegetable, is a concept I want to explore. Wax, oil paint, and graphite seem like appropriate materials for the study of archaic renderings of plant and human anatomy. Through this discovery of the delicate nature of wax, I have been able to answer my need to depict, sometimes at the microscopic level, hidden parts of a living thing. Creating this waxen overlay over the surface of my paintings satisfies my need to establish a distance between the world depicted and myself. Since 2008, I have been fortunate enough make use of materials that were going to be taken to the Landfill. I had been experimenting with translucency in my art using various types of waxes and pigments before 2008, but with the discovery of half-inch thick Plexiglas that was given to me; I had a whole new “translucent” substrate upon which to apply my waxes and encaustics. The assemblages I have created primarily consist of a thick Plexiglas substrate upon which I will sometimes draw, pour wax onto, drill into, abrade, affix wax sculptures, apply transparencies, and photographs have served to reinforce my ongoing interest in the human body as vessel but with a new angle. With my newfound ability to incorporate thick layers of Plexiglas along with any type of semi-translucent wax further exemplifies the idea of some type of veil or layer, but with more dimensionality. Along with new material, new ideas have evolved. They now represent layers of thought or my reactions to various events. While Plexiglas and wax created a satisfying result, it didn’t always create a sturdy one. I started looking into re-creating my wax flowers with rigid urethane resin in late 2009. It opened up a whole new wonderful world, but a costly one. Earlier this year, I began creating sculptures with silicone rubber and Clear-Flex 95® that is a clear yet flexible rubber. I would like to thank the SCGAH and the Metropolitan Arts Council, for the opportunity to bring these disparate materials together into one installation where the consistent message is cause=effect, whether it’s a small event or a huge catastrophe.