Boy Soldier (58 hours) investigates the realm in which imagery takes form, specifically through the digital realm. What happens to the objectivity of an image that has been assimilated through society and scrutinized at the whim of Western subjectively?

        By the use of the grid and the repetition of squares painted in different tints, tones and shades, formerly monochromatic, the gestalt of the singular image becomes clear. From a distance the tones blend perceptually and each color subjugates itself to its neighbor. Once you approach the image in close proximity, the individuality of each color is opaque and the mundane truths are evident.

        The system is flawed; both in the way images gain meaning in the media and the system in which the artist creates the images for consumption. The artist attempts to hand paint perfect gridded squares in a contradictory effort for perfection rather than by taping them off to assure the perfection can be manageable. This is to maintain the hand of the artist and to maintain the subjectivity of a singular person. As the image moves further away, literally and figuratively from the artist and the spectators, these effects wane.