||This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. (December 2011) (Learn how and when to remove this template message)|
Twitchell was raised in Ogden. The beginnings of his project addressed his Mormon upbringing, drawing from the American religion's history, mythology and iconography. This aspect of the artist's work has expanded as he has sought to address the larger realm of American religious fundamentalism.
His working method involves the use of folded and cut paper. Originally conceived as a means of depicting replication in architecture, the inherently repetitive nature of his process has allowed the artist to reflect on other types of expansionist typologies. This line of conceptual development leads back to Twitchell's personal history and his youth steeped in the quintessential religious exponent of America's push toward continental domination.
Additionally, Twitchell's work addresses themes of middle-class American consumerism, architecture and politics, and occasionally references the contemporary New York art world and the broader history of modern art.
- Schmidt, Stacy (2004). "American Paradigms: David Opdyke and Lane Twitchell". Corcoran Gallery of Art. Retrieved 2007-01-09.
- Viveros-Faune, Christian (2005). "Art Column". New York Press. Retrieved 2007-01-09.
- Woodworth, Cherie K. "Landscape and the American West: The Sacred, the Sublime, and the Suburbs--The Art of Lane Twitchell." Sunstone, October 2002: 34-39.
- Official website
- "Everything but the paper cut: Eye-popping ways artists use paper". Fast Company blog. October 20, 2009.
|This article about an artist from the United States is a stub. You can help Wikipedia by expanding it.|