Multidisciplinary
My multidisciplinary work continues to extend into the realm of the satirical while maintaining a high focus on critiques of institutionalized religion and society. A blending of common motifs and symbols from Catholicism and American Culture, I hope to explore the commonalities between these two institutions.
God Bless Powerball
2025
Screen Print on Wood, found objects
24”x24”x7”
God bless Powerball explores the idea that many christian nationalists (unknowingly) believe; one only gets into heaven if they are lucky enough here on earth.
Viewers will select a cross from the pile and flip it over to reveal either ‘Heaven’ or ‘Hell’ granting eternal damnation or eternal bliss based completely on chance. This piece works towards a greater goal of reformation through art, highlighting seemingly obvious flaws of religious institutions through recognizable motifs.
God Bless America (Obviously)
2025
Charcoal and Acrylic paint on paper
66”x72”
God Bless America (Obviously) creates an image that aims to shock, confuse, and disrupt the viewer. The piece walks a fine line between thoughtful critique of Christianity’s deep role in American Nationalism, and a MAGA Facebook post.
This juxtaposition highlights the complexity of the interaction between these institutions while examining the societal ‘numbness’ to these images.
God Bless Baseball
2025
Collage
14 4”x6” postcards
God Bless Baseball juxtaposes images of NYC the capital of consumerism with classical depictions of religious icons.
Repetition and quantity explores ideas of mass production within religious institutions as well as the ‘commercial-ification’ of religious icons.
July 4, 1776
2025 , Collage , Evan Goddard
July 4, 1776 recreates a Catholic Nativity scene using newspaper, magazine, and book clippings to create a satirical representation of the Biblical story. By replacing traditional figures with clippings, July 4, 1776 draws attention to the longstanding tradition of consumerism as a religion. Adorned with Coca-Cola Iconography and common images of American history, viewers are asked to look introspectively, Do I worship a brand in the same way I do Jesus?
July 4, 1776 also stands as an allegorical representation of the birth and history of the American Machine. Placing a Coca-Cola Pin up woman alongside a Confederate soldier as Mary and Joseph emphasize the idea of an America founded on racism, war, and consumerism. Furthermore, the abundance of children praying in the scene draws attention to the widespread belief that America should be a ‘Catholic Country',’ leading to the indoctrination of children into both the Catholic Church and the American Nationalist Machine.
Dinner Setting, 1955
2024, Ceramic , Evan Goddard
Dinner Setting, 1955 calls back the American Ideal of the Nuclear Family, using a classical dinner setting with two parents and children’ plates with food separators. With these dishes adorned with images of Catholicism, included Crucifix Forks, Dinner Setting 1955 draws attention to the longstanding interwoven history of consumeristic American ideals and the Catholic Church. The images invoke a feeling of mass production and the vibrant advertising art of the mid 20th century America. The piece portrays Jesus, and other symbols of the Catholic Church, as consumeristic icons rather than divine beings.