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My current work is a mix of material investigations, fixes and positive incantations, and an exploration of alchemy and the occult. I use my hands to make broken honest pieces from materials that include paper pulp, graphite, photographs, and text. Paper pulp allows me to make dimensional markable drawings: expanded surfaces. I'm attracted to mark making for its inherent rawness, coupled with the impossibility of reversal. In art, as in life, to progress and work through problems is to evolve. I also use paper pulp because I can work quickly and iteratively with it: repeating the same shape in numerous imperfect instances in the manner of a human, not a machine.
I'm interested in forms of interchange and the aberrations and novelties, intentional or not, introduced by the act of correspondence: what happens when one or more things come in contact with each other. I still use computers and have recently started experimenting with sound again, using electro-magnetic field mics, for instance, to record the sounds of aging computers and other ghost technologies, reworking the past to give us a better shot at the present.
I'm worried about the world and believe that art plays a vital part in fixing it. Making is an act of resistance and hope.