The Convenience of Denial, triptych, 2021

The found language pattern in various sources of media of how notable individuals and institutions conveniently denied their involvement with Jeffrey Epstein and associates despite obvious and proven affiliation. Names are omitted. Stories intermix and run into each other and off the page, forgotten. Compositionally reflective of how the news navigates and reports stories around sex trafficking and the protection of power and also how I feel about the stories in themselves (and this case in particular): omnipresent, sinister, murky, repetitive, manipulated and covert. 

 
 
 

a self portrait with bill, animal hide, and acrylic (13”x28”) inkjet print (26”x40”), 2023

Formally inspired by various Bill Clinton and Bill Cosby scandals, this was printed and conceptualized to have multiple interpretations. It pays homage to Jane and John doe(s) of the world, confronts fictional and nonfictional "Bills," and speaks to the currency behind bodies.

 

when can you admit it? diptych, 2021, silkscreen on fine art paper 22”x30”

When exhibited, Kopenhaver walked around with a book at the reception, asking viewers to write to her when they have been lied to and/or when they have been a liar. The book accompanied the text works underneath on a podium for ongoing viewers to add to it and/or peruse. It is the space where truth and lies circulate, where someone’s villain can be another’s hero. Kopenhaver believes that the reading and exposing of personal thoughts can elicit much-needed (today) empathy and catharsis as well as general accountability and humility.

 

you dont even know who you are, 2022, silkscreen on fine art paper, 22”x30”

 
 

cultural studies on my bartending money (numbered) each unique, silkscreen on USD note

 
 

things miami does not need more of #1 (24”x40”)+ detail #3, 2023, silkscreen on fine art paper

 
 

truth frequently (left) ghislaine and I, a self portrait, silkscreen (right)