Statement

The ideas of fetishized exotic pattern and decoration have always been central points of departure to explore the implications of association. Throughout my childhood, I found myself surrounded by patterns of “luxury” - the Ottoman rug, the damask wallpaper, the fine china - which have influenced my view of these motifs as symbols of wealth and power. Bringing this interest into a political perspective, I found it to be significant to examine these associations of patterns and style in context with their culture of origin. I specifically aim to highlight the visual cultures of present day conflict as I see the problem of negative and generalized cultural associations increasingly leading to resentment. In researching, collaging, and often replicating and appropriating integral patterns from cultures embodied in the Middle East and America, a visual example of each enemy’s beauty is portrayed together in some form of unity. By placing this harmonious chaos of pattern and association onto shapes of objects that directly embody violence in their function and form, I hope to illuminate the confusion between the privileges of cultural ignorance and highlight the dichotomies of war.