The subject of my work is the “ultrathin” moment between conception and creation. It is the moment of emergence. My work depicts that moment … a moment which cannot be written or spoken.
In addition to painting, my work encompasses a variety of approaches with digital video and digital print being the most common. I also work through drawing, traditional silk-screen, collage, installation, etc. In all of my work the process involves gathering and capturing; editing and layering. I often seek to strain the limits of the medium’s ability to depict/transmit meaning. How far can I push and extend digital, for instance, before it breaks apart and the image gets lost. What happens in-between these bits of information? How are the gaps filled in?
Concerns which drive my work:
Epistemology – the study of the nature of knowledge, its possible validity
Metaphysical – an umbrella arching over the physical; extremely abstract or theoretical; without material form or substance; originating not in the physical world but somewhere outside it.
Language - the foundation of text and the material of the mind: frames, calls into being, allows conception, provides meaning. It originates not in the physical world.
Material vs. immaterial; commodity vs. de-commodity; real vs. perceived value.
Matrixing – in popular culture, the tendency to ascribe meaning and find patterns in random information as when distortions in a photograph are attributed to “supernatural” causes; or when naturally occurring sounds or sights are determined to be of spiritual origin (source: “Ghost Hunters”)
Dithering – the process of filling in the gaps of incomplete information in order to extrapolate and project a meaningful image, sequence or cohesive sound
In practical terms these interests manifest themselves in my work through my use of a given medium. The goal is for the medium to be massaged away from direct and clear representation to make room for the viewer to “dither” into the gaps or participate in “matrixing” its surface. I seek to create moments where the information has begun to coalesce but not yet attained clarity. The moment deals with the insubstantial and not yet known. An example of this would be the video “Breathing” in which low-res footage was expanded beyond its intended application with resulting distortions in the image and a limit on its ability to communicate information. Likewise in the sound for that piece, low-tech recordings were used in the same manner with some sound being “found” while other samples were specifically recorded for the work. The sound is layered so that again the medium’s ability to communicate information is limited. The result is an image of a liminal moment … a moment of the insubstantial transmitted through light with gaps to be filled …
In addition to painting, my work encompasses a variety of approaches with digital video and digital print being the most common. I also work through drawing, traditional silk-screen, collage, installation, etc. In all of my work the process involves gathering and capturing; editing and layering. I often seek to strain the limits of the medium’s ability to depict/transmit meaning. How far can I push and extend digital, for instance, before it breaks apart and the image gets lost. What happens in-between these bits of information? How are the gaps filled in?
Concerns which drive my work:
Epistemology – the study of the nature of knowledge, its possible validity
Metaphysical – an umbrella arching over the physical; extremely abstract or theoretical; without material form or substance; originating not in the physical world but somewhere outside it.
Language - the foundation of text and the material of the mind: frames, calls into being, allows conception, provides meaning. It originates not in the physical world.
Material vs. immaterial; commodity vs. de-commodity; real vs. perceived value.
Matrixing – in popular culture, the tendency to ascribe meaning and find patterns in random information as when distortions in a photograph are attributed to “supernatural” causes; or when naturally occurring sounds or sights are determined to be of spiritual origin (source: “Ghost Hunters”)
Dithering – the process of filling in the gaps of incomplete information in order to extrapolate and project a meaningful image, sequence or cohesive sound
In practical terms these interests manifest themselves in my work through my use of a given medium. The goal is for the medium to be massaged away from direct and clear representation to make room for the viewer to “dither” into the gaps or participate in “matrixing” its surface. I seek to create moments where the information has begun to coalesce but not yet attained clarity. The moment deals with the insubstantial and not yet known. An example of this would be the video “Breathing” in which low-res footage was expanded beyond its intended application with resulting distortions in the image and a limit on its ability to communicate information. Likewise in the sound for that piece, low-tech recordings were used in the same manner with some sound being “found” while other samples were specifically recorded for the work. The sound is layered so that again the medium’s ability to communicate information is limited. The result is an image of a liminal moment … a moment of the insubstantial transmitted through light with gaps to be filled …
