Flattened soda cans form the base surface of jonmarc Edwards’s latest self-portrait, Souvenir. The aluminum cans emit a vibrant, manufactured sheen, with their crumpled textures underscoring themes of recycling and renewal. This gleaming foundation supports a cacophony of eclectic elements, forging a compelling narrative of the self-portrait subject.

A round rearview mirror extends beyond the frame, serving as a reflective portal, inviting viewers to delve into their thoughts and self-awareness. The artist’s (Un)wanted poster adds a touch of playful irony with its desperate pleas and negotiations, while an orange plastic fish confined in a vintage cheese box evokes a sense of unease with its antiquated confinement.

A small wooden frame housing a decorative bird fashioned from real feathers evokes the charm of a thrift store find rather than a commentary on nature’s beauty. Acrylic gold, gray, and turquoise discs echo the collage’s circular motifs, equating traditional mediums as mere attributes in the artistic process. An old, worn, and bristled paintbrush is presented as a working tool, a symbol of utility rather than creative inspiration. A Xerox copy of the Declaration of Independence, a symbol of American identity and values, is one of many images affixed to the painting’s in-between layers, positioning the artwork within the context of American culture, in flux, for better or worse.

Seemingly arranged haphazardly, these elements display contrasts—old and new, personal and arbitrary, natural and synthetic, serious and whimsical. The collage invites exploration and individual interpretation, weaving a rich, layered narrative.

As a self-portrait, this work declares, “This is where I came from, this is who I am, but where I am headed remains an enigma.”