ARTIST STATEMENT: Under the influence of poetry, my work is based on a personal history. Focusing on a personal poetics of multiple perspectives and mediums, the work extends across a spectrum that plays on optical effects, absurdity, poetry, surrealism, language, familiar objects and spaces that are often in service of a personal narrative. The work typically creates a filter between a common object, environment, or scene and the viewer, thereby inventing a lens to view and reinterpret the everyday metaphorically.
With the hybrid works that place poems and text into visual contexts, the work plays with the transitions between image/object and language, contrasts the allographic and autographic, activates the passive act of reading, contends with the expansion and contraction of language and both its ambiguities and specificity; all the while carefully sidestepping the language and aesthetics of graphic design and typography. The form of each work is constructed so the text and the visual aspects expand the other conceptually without becoming an illustration, while also activating the passive act of reading through actions such as movement and memorization.
How I was made 2012 acrylic, wood, paint, light controllers, LED neon, Questioning language and our personal construction of self through language, self-examination, and ultimately self-discovery, the work constructs a visual poem where the content of the poem, the form,
I Draw a Line 2010 white powder The piece is situated in the space so that it is viewed upside down initially. To read the work, the viewer must walk upon it and over it thus initiating its destruction. By having an audience read an
Behind the brush 2006 mirror and cut paper The poem obscures itself in order to force the reader to move around the sculpture in order to activate the act of
reading by framing unorthodox ways to read the text. The form, actions required to r
Untitled (plant, clock) 2012 live plant, wood Conceived as a meditation on time and its linear and non-linear aspects, the numbers one through twelve are cut
into a live plant in a circle to resemble a clock while the two flowering stems resemb
We are all present at sunset 2012 live plant, ceramic A live plant has a poem cut into its leaves.
The text reads:
we are all present at sunset
the sunrise, our privilege
always finding the floor
never falling off the ground
a drawing of a
Untitled (so sorry) 2016 paper ink Part of an ongoing series.
Untitled (Celeste, Pepsi) Untitled (plantain,banana) Untitled (tomato,ketchup) 2009 Paper, tape. Window advertisements from a local super market were collected and then collaged together.
Vacuum/plenum (the Cotard delusion, invisibility, and other gravities) 2010 mirror, two-way plexiglass mirror, aluminum, steel, casters Utilizing over 400 square feet of mirrors, the installation allows the viewer to become disoriented, invisible to their own image, performer, and voyeur; to be inundated by their own image; and to swi
Untitled (clock, towel) 2015 embroidered towel Playing on ideas of time and a nearly functional or impotent clock and/or poetic play on time and wiping/absorbing/drying, a towel is embroidered with a clock face.
78 years, the average American life (sculpture) 2015 78 page notepad, 78 planners, 78 calenders A 78 page notepad is placed beside 78 stacked calendars and 78 stacked yearly planners, to play with conceptions of time and the average American life span of 78 years. Dimensions variable.
Thinking of you 2011 mirror, paint A halftone image of the artist is painted onto a mirror with strategically placed holes/gaps in the image. Standing in front of the
mirror a viewer is able to see their reflection in the mirror woven
78 years, the average American life, three years after the leap year 2013 78 pages. paper, chip board, glue. Each page of the notepad has a grid of either 365 or 366 squares. With each square representing a day, each page
represents either a leap or non-leap year, culminating with a notepad of 78 pages/year
Untitled (Work/live) 2006/2007 diptych, digital c-print No digital manipulation in the images except some color correction
Untitled (clothes, mountain) 2007 digital c print No digital manipulation in the images except some color correction.
Emails in one day: received, Emails in one day: sent, 2009 laser print All the emails sent in one day were printed one at a time onto the same sheet of paper repeatedly.
Refusal (Costa Rica beach, orange) 2013 digital c pring Ongoing series. All done in camera with no digital manipulation.
Memory lists (acquaintances/friends) 2014 11x14 inches Memory lists are written lists of all that I could quickly recall on various topics (acquaintances/friends, authors, plays, celebrities) until I paused for an extended amount of time on March 21, 2014
NO PHOTOS: I thought we were just going to talk about it/How did I end up in here? (Amsterdam, Red l 2008 ink on paper This series of drawings are based on events when I was either not allowed to photograph a scene or did not have a camera or deemed it inappropriate to photograph at that moment, but wanted to create a
everything is perfect 2016 paper, ink This is from a series of drawings that are made in a stream of conscious.
Delaying the Inevitable 2011 mylar, garbage, trash can A garbage can is extended to several feet, thus delaying its emptying, but also revealing its contents to all
passersby while simultaneously becoming more unstable as it fills to capacity.