Fusiform Gyrus (Sitter Response: Audible)

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Pints at Her Pick (with Rachel Maya), 13 x 9 x 2 1/2″ and 8 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

Pancakes at Her Pick (with Connie Trevino), 12 3/4 x 9 x 2 1/2″ and 47 seconds, pigment ink and acid free tape on acid free paper with motion activated sound electronics, 2019

She Preferred I Stop By Between Obligations (with Ingrid Chung), 13 x 9 x 2 1/2″ and 10 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

Quickly Before Bed as Mom and Dad Read (With Lorna Sikorski), 13 x 9 x 2 1/2″ and 1 second, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

She Chose a Lunch Spot Half Way Between Us and It was Good (With Tu Nguyen), 10 1/4 x 7 1/4 x 2 1/2″ and 10 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

She Treated Me to Upscale Indonesian After Work Around the Corner from Her Office Downtown (With Jamaica Abare; Immigration Lawyer), 11 x 8 x 2 1/2″ and 1 second, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

She Preferred to Come Over for a Kate-Made Meal (With Nicole Brown), 12 3/4 x 9 x 2 1/2″ and 7 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

Just Before Dinner in a Full House (with Aunt Babetta), 8 1/2 x 8 1/2 x 2 1/2″ and 10 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

Coffee and Sandwich at Her Pick (with Alessandor Earnest), 9 x 13 x 2 1/2″ and 10 seconds, pigment ink and acid free tape on acid free paper with push button activated sound electronics, 2019

The name of the series comes from the name of the part of the brain responsible for the condition of “facial blindness,” also known as prosopagnosia.In an ongoing series of multimedia portraits, I continue to chase the idea of the artist sharing vulnerability with the sitter. In the previous Sitter Response series, some of the most authentic and spontaneous responses from the sitter were spoken but self censored or lost in the process of the sitter writing on the artwork. These later portraits audibly whisper rebuttals to my perception or emit unexpected sounds from the sitter, upon viewer interaction with the artwork. The series embraces portraiture as description of relationships both within the tradition of painting and outside of it.

Made without an erasable medium, the physically ripped and bandaged portraits are records of a struggle to improve (my own) limited visual literacy; to grapple with bias and social conditioning.