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Shaheed, Shahead, Shayad    2005

Shaheed, Shahead, Shayad 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Zayneb's Militia     2005

Zayneb's Militia 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Drop'em to Block the Feds

Drop'em to Block the Feds

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Looking for the Birds     2005

Looking for the Birds 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Burning the Masters Tools     2005

Burning the Masters Tools 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Derricks     2005

Derricks 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Victory     2005

Victory 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Poppies without Opiates    2005

Poppies without Opiates 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Shaheed, Shahead, Shayad 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Zayneb's Militia 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Drop'em to Block the Feds

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Looking for the Birds 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Burning the Masters Tools 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Derricks 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Victory 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Poppies without Opiates 2005

In this series of seven 127 x 127 cm watercolor on paper paintings, I focus on reversing dominant powers that document a version of history. The images are taken from photojournalism, largely omitted from headlines to maintain a political climate, to create a scenario of militant resistance. The locations are unknown, the specific struggle unclear. There is a feeling of creating an amorphous people’s resistance somewhere in a “third world nation” or third world people in a first world nation, without a definitive location. The mystified become de-mystified through subtle changes or changing context, I attempt to re create my own sort of revolution. These images are presented as a form of counter propaganda. Paintings of guns and explosives within the hands of  feminized black and brown hands and veiled and masked faces become an insurgency to erase to shift the notions of who creates change.

Shaheed, Shahead, Shayad    2005
Zayneb's Militia     2005
Drop'em to Block the Feds
Looking for the Birds     2005
Burning the Masters Tools     2005
Derricks     2005
Victory     2005
Poppies without Opiates    2005