Featuring: Jayson Keeling

Jayson Keeling is a Long Island City-based artist who works in painting, installation, video and photography. Keeling's interdisciplinary practice captures pure moments of the human condition to create a richly textured body of work that explores power, exploitation and social hierarchy within culture.

Jah Nun Dead God Is Alive, 2007
taxidermy ram goat, television antennae, human hair, chain, rope, glitter,
debris and debris, boom box, fur, wire and bubble wrap, 108" x 84"

I Am You and You Are Me and Together We Are Slowly Becoming Dust, 2009
glitter and debris on canvas, 48" x 36"

"My ambition is to undermine both the objectivity that individuals bring to the art experience along with the creation of heightened states of self-awareness. Central to my practice is the production of experiences that are activated by my primary artistic tool, light; I scavenge through remnants of salvaged cultural iconography, language and mythology to create hybrid signifiers based on divergent cultural constructs. They transform temporal experiences into singular moments of revelation and enlightenment."

How Sweet The Sound (detail), 2008
site specific installation
mirrors, broken bottles, latex, chair and clip on lights and glitter, 108" x 84"

X, 2009
single channel video with sound, dimensions variable

Nuclear Family and Bad Rap, 2009
Nuclear Family, glitter and debris on canvas, 48" x 36"
Bad Rap, glitter and debris on mirror, 72" x 12"

Untitled (Portrait of Prince Rogers Nelson), 2008
glitter and debris on canvas, 72" x 48"

Like a Woodpecker with a Headache or a Nightingale With a Toothache, 2009
single channel video with sound, dimensions variable

New Graffiti Old Revolutions, 2008
Chromogenic Color C-print, 40" x 30"

Past exhibitions include shows at The Queens Museum, The Studio Museum in Harlem and he is a recent participant in the Lower Manhattan Cultural Council's Workspace Residency. His first solo exhibition in NYC, Behind The Green Door @ Henry Street Settlement, is on view until Oct. 24.