2019

This surrounds the idea of a systematic act of verification, one that treats human beings with the likes of manufactured goods, simultaneously excluding the unconventional. If the word “verify” was reduced to a simple physical act, stamping comes to mind, so I decided to use this idea as a foundation of the painting. Hands that represent society grasp a large wooden stamp that effectively “verifies” the model humans that exhibit fake enthusiasm and similar appearances. Their heads are molded to fit the flat surface of the stamp, just like how their personalities and appearances fit society’s standards. In the background, a hand shuts a window, communicating the disapproval of the non-verified—expressive and unique individuals who do not cater to society’s expectations. The painting is set in an isometric perspective to emphasize the artificial quality of this verification process; raised stamp marks, created with hot glue, that spell out “OKAY” disperses the stamping concept to the southern hemisphere of the painting. The stamp marks slowly disintegrate and warp as they progress south, subtly suggesting the lack of sustainability in this method of verification, and its incompatibility with a natural human race in which differences should be celebrated.