There is an automatic detection of human presence in masks, one that can reach people on physical, emotional, spiritual and psychical planes. In 2010, when our anxious tendencies are lazily leaking into introversion, the masks we wear become more transparent, yet are still composed of complicated emotional fibers developed since childhood. To embody the sublime and the grotesque while maintaining personal identity as a mask maker- I consider the tendency of neuroticism in mundane performance- for the unlocking of what keeps our bodies alight when focused on something unreadable. Mask and body are placed loosely together in a towering form that gives presence to an eerie and controlling tormentor. I develop forced interactions that alter our comfort ability to expose our sensibilities. Hints of rituals developing by my generation and laborious craftwork are tied together so that the subject of a masks identity is deteriorated not by natural but by social means.
In shamanic culture, mapping ones mental state on to geography of somewhere outside oneself is a basic way of talking about one's emotional and social relationships. Piers Vitebsky, The Shaman.
Zac Monday(1985) is an MFA student at University of California in San Diego. He received his BFA in Sculpture from Virginia Commonwealth University in 2007, while as an active participant in the Richmond Art community. His crochet work and drawings are animated through emotional rituals and mystical experiences that dictate how a viewer and the maker interact with work. The constant question of comfort ability is etched into figures that exist and should not exist, are an accumulation of fantasies but must reside in reality.