Flashe paint, graphite, and pastel on stacked and folded Japanese kobo paper mounted on canvas
24 in. x 36 in.
Language is the first conspiracy, making us accomplices when it falls apart/comes together/fails us/finds us right on the edge of legibility, and at the margins of meaning. The “Glyph” series is comprised ink drawings of newspaper texts, deconstructed and reconfigured to oscillate at the edge of legibility, simultaneously invoking the authority of English newspaper fonts and the traditions of Chinese calligraphy.
mixed media and inkjet print on stacked Japanese kozo paper
72 in. x 50 in.
This work is from the "Memory Palaces" series of collages and assemblage works operating as speculative mnemonic devices for an ahistoric world suffering from collective amnesia. The work is composed of enlarged images of clipped newspaper images collected and placed into relation to one another as montage, based on an invisible rubric, visual information buried underneath each successive image. The title references a number of images which document early archaeological evidence of the social practice of kissing, found in roughly the geographic area that is now Israel and Palestine. The series is an analog material representation of how our sense of memory, history, and truth deteriorates over time through the overaccumulation of experience and information.
inkjet on folded Japanese kozo paper
32 in. x 46 in.
Factography is a concept coined by the Soviet avant-garde to describe the aesthetic practice of embedding facts within storytelling to register a greater collective truth. The term is applied here to describe the visual ordering and rhyming of photojournalistic images, triggering subjective patterns of narrative production in our collective subconscious.
inkjet, charcoal, and photogel filters on folded Japanese kozo paper
24 in. x 37 in.
This work is a pseudo-didactic diagram that echoes, points, and colors the underlying formal patterns in the neighboring photographic image, but vacates the work of specific content, information or instruction.
mixed media and inkjet print on stacked and folded Japanese kozo paper
72 in. x 50 in.
This work is from the "Memory Palaces" series of collages and assemblage works operating as speculative mnemonic devices for an ahistoric world suffering from collective amnesia. The work is composed of enlarged images of clipped newspaper images collected and placed into relation to one another as montage, based on an invisible rubric, visual information buried underneath each successive image, including an image of the Rubens painting Venus Supplicating Jupiter. The series is an analog material representation of how our sense of memory, history, and truth deteriorates over time through the accumulation of experience and information.
inkjet on Japanese kozo paper, graphite on cut illustration board
22 in. x 14 in.
Charcoal on folded Japanese kozo paper
26 in. x 35 in.
The Throwing Voices series invokes the slipperiness in language and memory by folding works of poetry into open diagrammatic systems susceptible to multiple circulating pathways of subjective meaning.
Acrylic and gesso on folded newspaper mounted on Arches paper
11.5 in. x 23 in.
The “Tactical Schematics” series draws on the history of minimalism as a starting point, but reinvests the theatrical concepts underpinning minimalism with more of the urgency and uncertainty of the moment. The forms presented are not so much about a formal reduction and streamlining of visual information, as they are an expression of power and control in an information age- the redaction of factual information with a subjective gesture substituting as the presence of material fact.
inkjet, Flashe paint on Japanese kozo paper and illustration board in aluminum frame
11" x 14"
This work engages with directly with the complexities and ethics of how an image (and its referent by extension) can be made both beneficiary and subject to power through legal controls or regulations- here, a found photograph of an indigenous sculpture evades copyright law and federal prohibitions against photography and display of registered native objects, through the strategic alteration and transformation of the image into a contemporary forensic object- taking as its subject the Naxalk tribe’s historical refusal to register with the U.S. government.