I am an artist who secretly wants to be a comedian. The languages of humor and play set the tone for a viewer's relationship with a piece. It starts a dialogue with a very divisive question: Is this funny? Before he or she knows what has happened, the viewer has made a very strong decision. If its not funny, they'll turn away; the content becomes moot. But if I can tickle their funny-bone, then I have already established a bond between viewer and art. This is a risky way to try and start a dialogue, but it opens up a lot a freedom.
For starters, the use of humor allows me to be a little bit messier. Comedy, like art, has a destabilizing effect. Its serves to expand a dialogue by growing and nurturing an ideas problematic elements. This blurry territory loosens my artwork while simultaneously giving more power to the viewer. From humor, they can build a relationship that's rooted in acceptance, denial, an inside joke, or perhaps just a face-value chuckle.
But the joke should not be "on" the audience. I prefer self-deprecation, which adds a layer of sincerity and earnestness to the comedy. All shames can be celebrated with the right punch-line.
Humor also allows my work to stay rooted in performance. Whether I am creating a performance or objects, it is essential that the pieces capture some sort of bodily interface: a thing to touch, a way to stand, a relationship to a space, etc. The art acts as a document with the potential to re-perform itself forever. As the work of art continues to play out, it can oscillate towards being a proposal, a yearning for a more real version of itself. I want these proposals to be recognizable even when you aren't looking at the work. My drawings could be your portrait, if only you'd strike the pose.