Statement & Bio

The work in general looks at ephemerality and instability — within cities, communities, technology, identity, physicality, time, nature, perception, value — but also infinity and endless possibility. This is done specifically via resequenced paintings, written sculptures, sideways palimpsests, snow collages, genetically modified cyanotypes, kabuki jet engines, decentralized installations, invading sculptures, architectonic nature,  kirlian cities… (See HERE for more about; and contact for more information)

The work explores beautiful uncertainty, ‘mono no aware’, shifting and plural perspectives and existences — interleaved time, multiple lifetimes, the discrete individual within the broader collective… evolution, metamorphosis, mutation, hybridity. The work has emerged from a life lived across countries and cultures, and of experiences of metempsychosis.  Many of the works are concrete but ethereal, ephemeral infinities. Many reach for the monumental via the modest (materials, or scale). Spaceships out of paperclips.

stackedpaintingBigBlueMockupCropOne aspect of my practice involves dividing images into discrete sections and then reassembling them, often with interleaving. This allows a visual cohesion of disparate cultural and temporal material while giving a multiplicity of views with many unique readings possible. It also enables time-shifting parts out of sequence, a compression and expansion of scale, and a disruption or connected flow of form — all of which are metaphors used to express an interest in the idea of metempsychosis (one’s soul having lifetimes, over eras, of varying global backgrounds, classes, genders, etc); non-sequential time (the past, present and future occurring simultaneously); Anima Mundi (a connected world soul); and alternate dimensions (stacked realties, known as Brane theory). [CRISPR paintings]

remix # 3 of this sculpture

Indeterminacy is a constant theme. Superposition — the quantum theory that the building blocks of the universe exist in more than one place at the same time, until consciousness addresses (measures, acts, recognizes) it, ‘fixing’ it in a location — could be used to describe a lot of my work; they are both ‘waves’ and particles, having infinite states; the piece is not just what you currently see, a fixed state,  but is all its previous and future unknowable iterations. (Even the static pieces have multiple perspectives built in to them, and necessitate — benefit from — a viewer’s shift in view. They are Rashomon-effect artworks). Some works last for hours; others are constructed with the long view — to evolve over decades. [Recombinant works]


SculptureLandscapesideUnderlying themes, specific topics: Snow collages, chromed webs, woven metal wall sculptures, resequenced paintings , laser palimpsests, genetically modified cowboy hats…  A lot of the projects involve inventing (or hacking) methods. Often the idea comes intuitively complete (as was the case of the visual haiku/sculpture End E Eff, whose gestalt I saw in a dream) but then involves phone calls, emails, manuals, Youtube, working with fabricators, shippers, installers, etc. as well as things like frozen toes from working outside in -25 degeree weather, or sliced hands from winding steel for hours, or torched eyebrows from burning a substrate. Generally though, most of the works end up being “things made of things”, whether they are paintings, sculptures, or installations or involve high-tech or lo-tech production means. They are fractal, in the sense that the small parts represent the whole. [CRISPR SCULPTR]

IMG_9206The works are architected songs, painted music: the rhythmic structuring, sampling, looping, timestretching, remixing and glitching techniques used in contemporary songwriting have deeply informed my visual compositions. (The music I make and my visual art also parallel one another: collaging multiple styles, eras and cultures together.) But my approach could also be described in terms of genetic engineering —  the splicing of visual genomes to modify or hybridize works… [Works/shows in progress]

IMG_7557 3TONEDJI also do ephemeral works outdoors: huge ash on snow installations, wood, water and weather sculptures, and glitched en plein air paintings. The latter, or ‘terroir’ paintings, are activated by nature, using found organic material, the wind, terrain, and so on, and require a mindfulness of hour, a hyper-awareness of immediate surroundings (sun angle, precipitation, etc) and are intuitively constructed, spontaneous, and improvised. These works are readable as geographies of found information, or as architected landscapes. Like the recombinant works, they too exist only for a specific moment in time — but have no future, undone by weather in hours. [Installations]

08iotaMissingAnd ephemeral works indoors…   IOTA is a diasporic work crossing continents and decades; a single painting in 30 parts existing across 30 locations, the work coming back to gather every 10 years . These earthworks pulled indoors as color-splashed zen gardens, swept away in days and made anew…



 And works of scale…

meshwomanfrontSmallGrasp installation New Close 3





(See the NewsBlog posts for lots more ideas-behind…)




BIO: In narrative form with alternate images of the art.