collage

Genetically Modified Bouquet

  • August 29, 2019
Genetically Modified Bouquet

This work is a hybrid of photography, painting, sculpture, collage, digital construction and ikebana. It’s a genetically modified bouquet, a handmade jpeg of a flower arrangement… Time is also spliced in this work, the 19th and 21st centuries. A camera-less photographic technique from 1842 (which uses the sun expose the image) is used along with digital and biotech strategies to create the image. Discrete visual genes from within the work, along with pictorial DNA from separately created works, are spliced together to create something new. Though the work arrives at a fixed state after...

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In A Myriad of Ages It Will Not Be Exhausted

  • August 6, 2019
In A Myriad of Ages It Will Not Be Exhausted

If from a stick a foot long you every day take the half of it, in a myriad of ages it will not be exhausted. -Mohist School of Names (China, 479 BCE) The work is continuously destroyed This painting is cut in half every ten years. Each division makes it a new artwork, and starts the clock on its next destruction. The original state becomes unknown,  as the smaller and smaller pieces are placed in new positions.  All future states are also unknown, existing as probabilities, potentials, or impossibilities. Now or never Each painting can only be seen in each physical ‘now’ of the viewer, ...

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sincerity is great & the metatropolis

  • April 26, 2019
sincerity is great & the metatropolis

sincerity is great. also the architectonic + virtual + organic + poetic as a Metatropolis        

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Infecting installation, spliced cyanotypes & dangerous sculptures

  • April 2, 2019
Infecting installation, spliced cyanotypes & dangerous sculptures

A long, skinny painting that connects all the art in the space like a neural network. An installation that infects  the exhibition, its colorful component parts migrating over time through and around the other works, framing, enhancing, colonizing, barricading them. A massive wall painting to be decentralized over time, its 30 parts moving out globally, to flow back for exhibition every 10 years, a murmuration that builds narratives and networks over decades. A dangerous painting. An even more dangerous sculpture. A series of resequenced and genetically modified paintings. Works made with...

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Collage

  • March 22, 2019
Collage

For the record, a survey of my early collages, and their evolution till today. The paper ones were made and exhibited in Tokyo, LA, Toronto. The series (style) began in 1987. The concept came fully-formed in a daydream while sitting at Shinjuku station: slice images to strip them to their core information, and then interleave the images to compress them into dense meanings. It also enabled works using disparate material and juxtapostions of ideas to visually cohere. I have always described these as having a visual rhyme scheme, A/B/A/B/C/C.   Poetry, music, and DNA. Most carefully composed,...

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Snow Collage IV – Ash, Snow, Bulrush, Wind

  • January 7, 2019
Snow Collage IV – Ash, Snow, Bulrush, Wind

Composed from ash and wind on snow (a charcoalotype?), an ephemeral outdoor installation, an annual tradition. This one is about 15' diameter. (Previous ones, 30', here, and here, and some snow graffiti here.) 8 hours + to make; 8 minutes to disappear (it rained shortly after completion). Gone like the year. Indoor version in the works:  ash or graphite on sand, larger in scale and longer lived. (Prints available).         Other works in this series: And earlier:

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insider studio view

  • November 27, 2018
insider studio view

Studio views, new works, developing works, see below for some images, (fast glance video at bottom): -CRISPR installation, first time on wall (about half of it); web work (painting as drawing as sculpture as installation that connects rooms and floors, view on two sides of wall); 1/10 of recombinant cement painting/installation, as tower; -IOTA, decentralized painting (floor, table, wall) to exist as single work across large geographical area; iota sculpture (painting in 1000 parts) 2 views; -40+ works on paper, two walls -a few from the CRISPR paintings, series of spliced works -two smaller...

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Shred, splice, destroy, create

  • October 25, 2018
Shred, splice, destroy, create

Inception paintings, paintings inside paintings. Many works made using found wind and sourced items across many specific locations and climates, destroyed and spliced together to make a single hybrid work. New work in the ongoing CRISPR series, which are a compression of time and space, experience and place, more on that HERE. Cyanotype series, 21st and 19th century concepts spliced together... and so on....    

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Art Troll and geoDNA

  • September 19, 2018
Art Troll and geoDNA

Art troll?  Here's how I ended up working (lurking), in inclement weather, under a low bridge... with a racoon. Some of my current explorations involve creating visual DNA en plein air at disparate locations  (ultimately to be done coast to coast to coast across Canada, then other countries) and combining them together. Hundreds of paintings will initially be made, and then destroyed, as they are sliced up into pictorial genes which will  be CRISPR'd together into  single complex artworks, paintings made of paintings. The final pieces will be a hybrid of painting, collage and sculpture....

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Artitechture

  • February 14, 2018
Artitechture

This work is a 12' high ephemeral architectonic palimpsest, a crystalline tornado poem, an optically shifting spaceship skyscraper, a bas-relief diagonal tower of babel. Future iterations will be even bigger -- 30' high or long (on the ground), painting as monumental architecture. (And art as physical & mental challenge -- ephemeral does not equal effortless.  Art as intense sport, as Sisyphean marathon.) As it is done directly on the wall, it can only be experienced in one location. And as all walls eventually come down, it's lo-fi high beauty that can only be experienced for a moment...

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