Deanna Flinn’s work explores the relationship between the military-industrial complex and romance tourism. With influences as diverse as Henri Rousseau and Buckminster Fuller, new variations are manufactured from both explicit and implicit meanings.
Ever since she was a child, Flinn has been fascinated by the essential unreality of the universe. What starts out as hope soon becomes debased into a dialectic of power, leaving only a sense of chaos and the unlikelihood of a new beginning.
As spatial phenomena become clarified through emergent and personal practice, the viewer is left with an insight into the possibilities of our existence.