• HOTW82 (bad brains)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW70 (the late great planet earth)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2015

  • HOTW77 (low)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW94 (the wind-up bird chronicle)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW81 (rio)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW58 (saturday night and sunday morning)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling") in artist-made frame
    41.5" x 31.5" x 6.5" inches  |  2016

  • HOTW80 (boys don't cry)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW79 (154)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

  • HOTW84 (this is not a love song)

    color pencil on illustration board ("book cover"), pigmented inkjet print on polypropylene board ("vhs"), acrylic on panel ("wood paneling")
    20" X 16" X 3" inches  |  2016

WILLIE STEWART Website CV

Nashville, TN | Painting, Sculpture, Mixed Media, Photography, Drawing, Time-based, Sound, Performance, Installation
Bio:

I was born in Gallatin, Tennessee, on December 30, 1982, and I am a 2018 MFA candidate at Yale School of Art. My family were members of The Brothers of Iron, an outlaw motorcycle club, who were later incorporated into the Grim Reapers. I was raised by my great-grandmother Doris, a seamstress, and was homeschooled by my grandmother Susan, a truck-stop waitress. On weekdays I went to work with my grandmother, where I played Dungeons and Dragons with the children of other waitresses. On weekends, when my mother, Heidi, had free time, she took me to concerts. Together we saw the Melvins and Kiss at The Pyramid in Memphis, Tennessee. In my teenage years, the subculture music and films of the 80's and 90's inspired me. After high school, I took a ten year academic break, during which time I studied analog electronics, played guitar professionally with Yoko Ono, and spent four years as a commercial display artist, before returning to Cooper Union to complete my Bachelor's of Fine Art degree.

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Statement:

My work focuses on objects related to the subcultural images of my past. I am fascinated how combinations of these objects can produce a veneer that constructs a sincere identity outside of irony. I am influenced by séances, Parker Brother's Ouija board as a teenage icon, aura photography, messages recorded backwards, and my teenage experiences with music and film. In order to understand the phenomena manifest within objects, I deploy lenses of parapsychology, the investigation of paranormal phenomena, related to telepathy, precognition, clairvoyance, psychokinesis, and near-death experiences. I am interested in the parapsychological idea that everyday objects can contain paranormal and psychic energy.

With sculpture, video, and installation I present themes ranging from the terrestrial to the extraterrestrial, the artistic to the ethnographic, giving form to work that underscores an object's identity and inherent meaning. I create sites that are important to my personal narrative, while blurring lines of fact and fiction. Exploring the phenomenon of subculture itself, these works are statements that create an experience between the periphery and the core that can vibrate in a web of open-ended conclusions.

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