The Cannibal’s Muse is a reflection of the polyglotism going on in contemporary art. Craft, folk, outsider, non-western, decorative, applied art, pop, Dada, social media, and poetry, are devoured whole then synthesized.

An intertwining of traditions and integrity of materials encompass heterogeneity and vitality of expression. The strength of the artists lies in their formal clarity rather than naturalism. Many of the ideas of primitivism and modernity from a hundred years ago can also be found in this early 21st century. Within these parameters, the paintings, sculptures, drawings, and music videos owe their frames of aesthetic references to a conjugation of histories.

Through art historical precedents and the artist’s self-aware strategies, a formal trans-coding of each fragment occurs allowing for a mediation of images and contexts. Within this decentralized referential field, linear history is no longer the supreme measure to classify and rank signifier’s. One code to another code is a translation of one big idea.

In its overtly ritualistic double consciousness (JUNG) a broken and sparkling fracture in the gaps of media are unified; their separate distinctions are now closer together. The artist, priest, and artisan have become one; the master narrative is dead.