One aspect of my practice involves slicing images into linear sections, taking them apart, 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).
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).
My work is idea-based and crosses media: 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.
The 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…
I 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.
(See the NewsBlog posts for lots more ideas-behind…)