Albert Webb - Profile

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Artist Statement

My work centers on images that explore a personal fascination with periods, places, people, and subjects that stem from an endless examination into human nature as it pertains to war. Images and themes arise from an inner conflict originating from childhood memories of a glorified concept of war versus my present adult understanding regarding the reality of war. As such, my work is interested with war-related themes in addition to the role of playing war and its function in revealing a more mythologized version of combat. This concept is manipulated visually to combine war machines and playground equipment to convey an inner truth that begins to unravel the myth and reveal a more honest understanding of iconic subjects depicted. By revisiting the histories, mythologies, and individuals that influenced me as a young boy, I have rendered works based on experiences from my youth, as being both the son of a veteran and the brother of a veteran. These pieces have also been generated from reflective references linked to a post-Vietnam War era nurtured on war movies, stories, and toys. Likewise, my work makes reference to war machines from World War II to explore more romanticized battles. Each print is designed with this in mind, in order to elevate the concept of play to a degree that initiates a dialogue regarding conflict and opposition.
Each print is designed with this in mind as some works still retain a naivety and somewhat playful nature; however, there is always a sinister edge and serious undertone taking place.
Through the work, I have generated synthesized subjects combing child and adult understandings that attempt to identify with individuals that have experienced the realities of war. This is to establish a relationship between my youth with my adult persona, creating a serious dichotomy of thought between naïve notions of war from my childhood with a more mature understanding of combat and the repercussions involved with warfare. Both painting and printmaking sensibilities exist to create a variety of surfaces and explorations that reflect inherent qualities that relate to the idea of a visual narrative. Each mark left and removed, covered or carved, etched or painted, shows a record of the processes involved in its’ making, thus relating it to history and the idea of creating a visual narrative. Such marks and surfaces communicate a more violent and/or serious energy to the overall imagery while each fabricated mechanism of war combines aggression with playful child-like additions. It is not my intention to create work that is didactic and each image maintains a purposely placed ambiguity to allow audiences to generate multiple ideas and reactions to each work.