The two artists featured here, David Seth Cyfers and Christopher R.J. Worth, have worked together for a number of years, both formally and informally, responding to each other, pushing the distinctively different aspects of their work forward, while sharing in some formal and conceptual similarities.
Chris Worth, born in Bridgeport, Connecticut in 1977 and adopted to West Virginia in 1990, earned his M.A. at Marshall University, under the primary tutelage of Stanley Sporny. Chris Worth has always focused on how the primary visual elements can come together to explore the psychology of where mind and world intersect. As an artist with a disability, cerebral palsy, Chris has often felt like he was fighting for people to see him not as “the disabled artist,” but as an artist who uses her/his physical circumstances to add to the dialogue expressed by his mark-making.
This current work, “The Red Tie Series,” began to develop shortly before Chris moved to St. Louis, MO., and then found an accelerant as he dove into work organizing people with disabilities, especially around 2015, and became more aware of the intersectionality of that community struggle and therein, their power.
The more things change, the more they stay the same. The Red Tie Series speaks not only to the glossiness of millennial communication in America, but so to the on-growing shadow of the JP Morgans which still control the fears, hopes, and dreams of this America, an America which has made an art of continuing racism, ableism, sexism, environmental devastation, and the ever present division of classes within those dynamics.
David Seth Cyfers has always been interested in creating the artistic experience as physical space inviting the viewer to interact with the art, whether we are talking about his early collage works or his push to curate art shows which push the interactive aspects of the audience, both in challenging them and them pushing the art forward. When the audience interacts with the art, the relationship between artist, art, and audience becomes reciprocal. The artist presents the art to the audience, who then pushes both it and the artist in new directions. Seth’s current work plays on a mature approach to the three-way interaction just described. This current work, titled “Fake Art,” brings the viewer face to face with a culture of mass communication. It plays with serendipitous word play that harkens back to Seth’s history with graphic design, typography, and printmaking.
Contact Chris Worth at: firstname.lastname@example.org.
Contact David Seth Cyfers at email@example.com.