Steven Labadessa
My art practice serves as a physically enacted ritual of praise and contemplation, aspiring towards a devout pursuit of a severe beauty. It is an aesthetic of imperfection alluding to the underlying nature of matter and memory: everything is subject to age, wear and decay.

Yet, obstinately, suspended in the mythical timelessness of the medium(s), the invisible is made visible - still, but never silent.

...alternatively...

The work encapsulates a mute story of disenchantment wrought by the disillusionment.

A practice in the face of futility: a meditation on the eternal; wherein, transcendence, if it were to exist, can be found deep within the vulnerable and mortal fabricated self.

And there, the acknowledgment that transcendence lies not in purity, but in the finding virtue in the impure.

...formally...

I exact a preference for hyperbole (i.e., operatic) and psychological texture in my work. It explores within the confines of self-portraiture that typically runs counter to modern western notions of beauty; where I re-render the flesh of friends and relations (lasting and temporary) by compositing my imagery from a variety of observed, imaginary and digital sources.

Prominent influences and sources of inspiration (non-exhaustive) include; Japanese aesthetics (i.e., wabi-sabi), fringe and popular culture from Butoh to Manga, Western Comic Book Art, as well as Northern Renaissance, Baroque and 19th-century French Art.

...and, in revision...

Bearing witness to the rise of the digital age which has acted as a causative agent toward the mutability of identity, art can partly be seen as an aspirational projection based on potentiality and connectivity; wherein, it manifests as a mediation between a viewer and the actual work. Therefore, the art practice serves as a virile act as a means of propagation that affirms the identity of the creator as well as augmenting the isolation that is discorporealizing on a metaphysical level. Nonetheless, the passage from introspection to projection, which materializes from a solipsistic practice, returns to that which we know and fear; our vulnerability and mortality that presents a path of transcendence rather than tragedy I would contest.