After a trip to the Liberace Museum in Las Vegas I became interested in coverings of the body. Liberace literally coated himself with layers of pelts, accessories, makeup and hair products that acted as a shell. It served him well to attract the audiences that would define his economic success. His audience was filled primarily with women who swooned for him in spite of or as a result of his pretty integument.
My artwork is not an effort to reform Liberace on stage but to re-present aspects that I glean out of his presentation of the character Liberace. Whether it is the overt re-forming of a male sexuality where the masculine and the feminine form an ambiguous gender space in-between or the campy absurdity of what lies beneath, based on a reading of the surface, I associate these ideas to my relationship to the image of Liberace.
In my body of work surface treatments, (work in progress) I have carefully designed a crust to form an opaque veneer over the image of the body. Identification of the person posing is gone but the pose and veneer remains. Like Liberace's Las Vegas stage persona, the rhinestones reveal that virtual self… that pose… the patterns… that outermost layer which pretties up the man which lies inside.