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<\/a>Claude Breeze, Don’t Forget Me, 2015, crayon, charcoal on printed image on canvas, 27″ x 19″.\u00a0Image courtesy of Yumart Gallery<\/p>\nThe commentary on the position of women ran throughout the exhibition. \u201cDon\u2019t Take My Skin\u201d shows an advertisement that went awry. Although the distorted woman already is seen presenting her body to the viewer, Breeze takes the photographer a step further with his manipulations and makes it less about the female’s body as a commodity, but rather a woman who has been damaged and adjusted consistently to a point when she became unrecognizable.<\/p>\n
Breeze also explored images that are paired in two while also approachable as singular pieces like \u201cJunk Window: Family Photo\u201d. The parts of the abstract diptych display a continuous image that the viewer might not recognize until they are placed side by side. The artist explained how the images work independently, placed in corners or together, hanging next to one another.<\/p>\n While most of the smaller artworks where produced in 2014-2015 Breeze also included older works which had not yet been exhibited such as the graffiti style, \u201cBeyond Signs: Captain Was Here\u201d from 2001-2002. It stands out by its immense size and style. While the other pieces play with line usage and photograph distortion, this one is done in acrylic paint and represents the ghouls that lurk over authoritative presences. Despite its differences it still seeks to comment on social issues as the others do, however, it also shows how Breeze\u2019s work has changed over the past decade.<\/p>\n<\/a>Claude Breeze, Don’t Take My Skin, 2015, crayon, charcoal on printed image on canvas, 27″ x 19″.\u00a0Image courtesy of Yumart Gallery<\/p>\n<\/a>Claude Breeze, Junk Window: Family Photo 2012, diptych, each canvas; crayon, on printed image on canvas, 19″ x 15″ each.\u00a0Image courtesy of Yumart Gallery<\/p>\n