These are paintings and sculptures composed from linear stacks of extremely thin layers of interleaved and remixed imagery and text. The layers allow for very complex rearrangements of the source materials.
Layers are uniquely composed then spliced with other layers and expanded into a much larger field of composed imagery, colors and textures. The paintings and sculptures continue my practise of works composed from discreet elements (i.e. an analog from of ‘digital’), in the spectrum of mosaic and collage, but also referencing gene splicing, geological strata, brane theory (adjacent but alternate dimensions) and transcultural and multi-era fusions/hybrids/juxtapositions (through use of surface imagery — Victorian, Modern, calligraphy, tribal, etc. all compressed together), and uniqueness and identity retention within a larger timeframe, context or society. The works conflrate the handmade (painted, dyed, cut, arranged) in the realms of weaving, quiltimaking, bricklaying, etc, combined with high technology and architecture (laser cutting, 3D printing, CNC routing). Finally, they also are heavily influenced by music, with imagery relating to sampling techniques, the colors as melody traversing the rhythmic grid, with repeating elements functioning like recurring motifs or lyrical rhymes.
Paintings: Many sizes and textures of edge-painted imagery or text. Multiple iterations, including very complex shaped laser-cut layers (gothic, fractal, etc); mixed materials (paper, metal, mylar, etc); various bas-relief stacking methods (every 5 layer protrudes, evey 3 recedes, every 8 is at an angle); content (done on bookpages, or maps, or money or parchment or…); multi-angle viewing (facing edge, but also protruding edges with imagery that reveals at oblique angle so the painting optically shifts with movement)
Sculptures: also with sliced sections. 3d objects — cars, dinosaurs, jet engines, etc — sliced and interleaved to create a visual rhyme scheme (slices of object A, B, C… arranged a/b/a/b/c/b/c/b…), monochromatic or multicolored in the manner of the paintings; outlines of many objects recreated in thin aluminum (or paper, or cardboard), stacked and painted; in vertical columns, as diagonally shifting columns, as separate sculptures with thin layers bridging across and into other sculptures… some of the works may be distributed across a wall (a single painting’s stacked layers extending many meters beyond its base vertical form)
WALLWORKS AND FREESTANDING SCULPTURES: