Juxtaposing disparate parts, I develop a personal sense of place in the
world, informed by history, nature, and cultures. The goals of my practice
are to challenge commonplace assumptions, and celebrate the
phenomena of perception. I am drawn to certain cultural materials with an
urge to intervene, in order to hack mass mediums. A tendency toward
experimentation and my attention to systems lead me to work across new
and old media using the sensibilities of observation and remix.
In some pieces, I seek to elevate individual participation to an ecstatic
immersive experience. Others reconfigure historical contexts within
illusory spaces, in order to challenge cultural memory and perception.
Photography continues to be a valuable tool and source of intrigue. We
are at a time in history when the photograph is easily manipulated while
retaining its authority and false promise of truth. Given that our culture is
increasingly visual in its languages, there is a wealth of ways to reflect
one’s society by engaging its images.
To make the “Stereocollision” series I digitally mixed images and text
appropriated from antique 3D photocards to present composite scenes
depicting states of hyper-globalization. In my current stereographic
collages I’ve focused on human relationships with nature, drawing on the
magic and weight of religious themes. These wall-mounted pieces use the
classic double hump stereographic format on the scale of medieval
diptychs. Viewers experience the minor miracle of a 3D vision as they
observe scenes of both natural disaster and spiritual harmony.
Crossing disciplines, such as those in natural and social sciences, leads
me to broader sources of inspiration that I mine for the purpose of bringing
to an art discourse. I consistently find myself focused on mythic themes
and optical sensation. By weaving fact and fiction, documentary and
artifice, I explore social and existential perception.