Wells Mason

Artist Statement

The Mirror Series started with a very simple question: what does art see when it looks in the mirror? Because of social media platforms and our individual ability to control these platforms, we’re experiencing an unparalleled level of obsession with our own images. As a result, we’re also experiencing an unparalleled level of cognitive dissonance. The Mirror Series explores image obsession, vanity, and the changing definition of what’s considered beautiful in our society. It also explores mental disorder as it relates to our real or imagined image. Really, these sculptures aren’t even remotely minimalist. With this work, I’m using simple shapes and colors in opposition to illustrate different degrees of self-awareness and mental health. In essence, this work represents a private dialogue between self and reflected self – not unlike the distance between yourself and your bathroom mirror.

The Umasi Collection, on the other hand, is specifically designed to blur the line between furniture and sculpture. Each piece is a shotgun marriage of materials – with perfect panels that collide into organic elements. Since Umasi is about blurred lines and colliding intersections, it doesn’t fit into a neat category, and it doesn’t try to be pure anything. It’s decidedly in-between, and it’s entirely experimental. Scrap steel, used telephone poles, abandoned trampoline parts, salvaged ship masts, old bicycle frames, crushed aluminum cans, and lumber from derelict buildings form the building blocks for this series. Because of this, The Umasi Collection draws attention to what our society throws away, and it suggests some alternate uses for our debris. But The Umasi Collection is also a ready platform for other forms of social commentary, with references to art history, contemporary culture, and even the politics of war.

Thank you for your interest in my work.