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No Hear Hear, No There There

  • October 11, 2016
No Hear Hear, No There There

This work fuses the silver palimpsest series with some of my text series, as well as my linear mandala/DNA spectrogram/sliced collage approach. It's also transtemporal -- there is a complex bas-relief texture of a Victorian petit point motto that reveals beneath the 21st century material. (The reflective quality of which allows the colors in the room, or the viewer, to resolve/dissolve into the piece. It also creates a shifting or unstable optical appearance as one moves around the work, with the different textures or sections luminescing at different angles or time of day.) The text...

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Divination Inclination

  • December 5, 2015
Divination Inclination

56” x 36” x 3000 nuts & bolts (Left: front view Right: back view oilstick on aluminium K.I.A. 2012 This work, which came to me fully-formed while sleeping, encapsulates my ongoing themes: it uses proletarian materials in an unusual way; it contains imagery from many eras and cultures; it has layers of veiled information; it changes -- shadows or pinpoints of light or details get revealed as you move around the work. (Even the back. Especially the back. Everyone peeks around the back.) It was also insanely labour intensive, involving hand-screwing 3000 nuts and bolts. They...

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Deadbeef Atomicraft

  • August 24, 2013
Deadbeef Atomicraft

A NSA poem, a CIA painting; a dazzle predator. The words in the poem are taken from: the NSA keyword list; use them in your emails or phone calls (or poems) and the National Security Agency will track you code-names of surveillance and other secret spy programs. Outside that lexicon, only ordinary conjunctions are used. Woven around the stanzas is the image of a circuit-board for a listening device (a “bug”). Overlaying that are the landing strips of the airport at Area 51 (where they test drones and super-secret planes).  The final layer is a reference to camouflage, in this...

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In Everyone’s head Juliet

  • June 22, 2013
In Everyone’s head Juliet

In everyone’s head Juliet looks different. How much to reveal, how much to conceal? My recent paintings, which are enveiled in stainless-steel, barely show their images through the metal threading -- and in certain lighting, the reflectivity of the steel nearly obliviates what lies beneath. “Read between the lines”, literally. Previous works too: hidden layers & encoded information. Painting as a suggestion, as poem; the viewer finishes each piece in their own head. Post-creation, these writings were to give insight to some of the ideas embedded in each of my works... but they’ve...

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Morse-code-fractured & shorthand-enhanced forest

  • June 23, 2011
Morse-code-fractured & shorthand-enhanced forest

“e dot tree dot XL”; a morse-code-fractured, shorthand-enhanced forest.  Part of the infoscape series (see the drawings “Nature Not As In”, “I’ll Prance Some Dance Some”, and “Would Code”). The lines that make up the drawing are more than just decorative or structural -- they are themselves information. (The broader implication: behind everything we see there is a higher, or at least different, order of reality.) The morse-code lines (seen vertically) are phrases from an e. e. cummings poem that references nature (i.e. “when by now and tree by leaf”); the cursive...

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