• December 22, 2013


My very early works were collage, which, after an epiphany sitting in the maelstrom of people and noise in front of Shinjuku station, went linear. (Narrow strips of images stacked and interleaved). It was a way to compress a lot of information into a small space, to add rhythm — or rather a rhyme scheme (ABABCC, with A being one image, B being another, etc.)

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It also allowed glitching of a singular image; shifting a single line left or right, or flipping one line upside down, disrupted the image enough to make any analog construction methods (xacto knife, ruler; later, rows and columns of bolted aluminum panels) look digital (although it was pre-Photoshop). I worked small, on paper; then larger on public posters, which evolved to the megacollages (metacollage?) on panels, first  only four (wood or canvas) panels per work, later with aluminum ones, into the hundreds, and going sculptural. Eventually used the slice technique (now that Photoshop existed) on my album artwork (above right.)

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At some point the collages became more painterly, where the pictoral information was embedded in color. This lead to a strain of  non-collage work which kept the stacked linear element, but now the ‘information’ was shade, texture and form. The patterns or layering still read as conveying some occulted meaning (math? history? hidden universal structures), like how the lines on a shell seem to hint at more…



The painterly stuff expanded and shrank; I kept working on aluminum (for the light–shifting qualities); I’ve kept the linear element, as well as the embedding of information. Branched off into using fabrication techniques but always keeping the human hand…

Which brings me to the first image up top. I was organizing some works to install at a collector’s, and leaned a piece from an earlier series up against some just-completed paintings. For some reason I documented it, and the photo suddenly showed another branch to follow: collage two ‘separate’ styles developed at different times together. There’s obviously a through-line (see verbiage above) but it also makes me think that the universe — or our holographic perception of it —  must be fractal; ideas inside ideas which are inside ideas… the micro is the macro; information inside a collage which is mixed with images all on up: a megacollage.

So the above capture of two separate styles has led to the start of this series (just giving a tiny glimpse at this point):

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