I generally approach the ‘what’ and ‘why’ of my studio work analytically, and lean heavily on ideas from postconceptual practice.
I’m a pragmatist and opportunist when selecting forms, formats, materials, and processes.
For me, form intersects content in process, and I usually create images and objects that attempt to reflect critically on the entangled sets of decisions and densely overlapping systems that led to their making. Storywise, I use my work both as traces of and poetic statements about specific philosophical proposals that by now feel like permanent fixtures in my brain.
I’m addressing those proposals in my studio work with a mix of intuition and rigor. My sketching and preparatory process is sloppy and takes a long time; I dump out, take lots of notes about, and slowly organize potential contents and methodologies — e.g. items that fascinate me, potential modes of expression, transformational mappings that abstract data and alow them to relocate themselves, algorithms that generate working processes — over a long gestation in the studio. I then slowly combine and recombine modes of expression, forms of content, color schemes, and working practices into a more coherent set of relations. By the time they’re finished, my works are almost always presented in series, each modeling a specific interpretive point of view.
In that sense, I’m aiming more at performing interpretive procedures than at traditional picture- or object-making.
Those interpretive proposals comprise elements from several discourses in different fields: poststructural theory, political resistance, mathematical logic, philosophy, others. More or less, these proposals relate to identity, perception, and structure — ideas about immanence and perceptualism; recursion and feedback; interpellation, biography and political identity; isomorphism, molarity and pseudostability; oppression, fascism, and resistance. Insofar as these may be political works, they try to propose kinds of resistances at a micro level where abstraction and description diverge, names are created, and identities inhabited.
A common element in many recent projects is the metonymic incorporation of color gamuts and palettes. The works I’ve been making recently use color to carry meaning about other systems of information, and that has led to presenting hues and differences in clear and direct ways.
Most recently, I’m making works that investigate situations where surrogate identities are invented, adopted and published to the world. The works remix and recast those situations through the lens of post-formalist painting. The “Missed Connections” paintings, for example, take their subject matter from hookup ads copied from Craigslist’s “men seeking men” section, breaking down the grammar of key sentences and presenting them as high-key color palettes.
When I can find time and clarity do do it, I try to present written thoughts about the series, both to speak up about what I’m doing, and also to carry over the physical object-poetry into words. Over time, I hope that all the series noted on the front page of this site will contain some kind of written statement. If you find a series without any description, it’s likely I haven’t yet figured out a text that would offer any insight into the images. Or, I’ve been lazy.
This latest version of my website is a deliberately unfinished project. I’m usually intensely dissatisfied with how websites are supposed to relate to studio practice. I’m tinkering with this one constantly. In the Series section you’ll see combinations of so-called finished works and other documents that relate to them. Other images and writings are in Log.
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As part of my professional life, I also write and edit for publication. Some of that work is cited in my CV.
You can reach me at email@example.com