extended thoughts on artist statement

december 2011

silencing the over-stimulation of mass media and the over-consumption of a commercially-driven society are the stimuli for my work.  dichotomies of industry versus nature are predominant.  the duality of this constant struggle manifests itself throughout the studio — for a storm isn’t simply a storm, it is a cacophony and a symphony, it is devastation and beauty, violence and calm.  as unrelenting contradiction leaves its mark in the studio, the constants remain as light, rhythm and repetition.

my use of monochrome is directly attributed to avoiding the sensationalistic; rather, providing a respite for contemplation creating a visible cultural presence based on reiteration and reflection.  reductive monochromes reshape our awareness and move formally and minimally to create a language of nuance.  the magnitude of the silent informs the visualization of the minimal and reductive as all act as catalysts for creating the simplest form with the greatest breadth.  this language is at once descriptive yet transcends description.  the explanation comes from process and experience.

the process begins with an understanding and respect for a specific space.  history and memory inform what become newly constructed moments that tap into the unconscious.  texture, fragility and the fleeting all incorporate as attention is drawn to absurdity and the lack of meaning in objects and actions.  as parts become whole — the placement, lighting, and “empty space” that envelops are all integral to the intended experience.  my aggressiveness in asserting the minimal sets the stage for the contemplative and meditative.  these newly found spaces redefine the archetypes of our modern existence.

new appreciation shifts the meaning of objects and continues to redevelop the language of our surroundings, bearing in mind that it is not enough to simply bring the unnecessary or marginalized to a conscious level — a shift must come in the form of action against melancholy and its lackluster.  what is sustainable in life?  in practice?  what has the most efficacy with the least amount of impact?  to be sustainable we must look within ourselves.  by creating reductive, minimal, conceptual work rooted in process and space, i assert that awareness is born of meditation and instinct.

notes on work

october 2011

everything hums — the music of the air, the space between contradiction, the sound of light and the persistence of repetition.

in the vague subtleties, everything at once is... and isn't. 
 contradiction is inherent and almost as important as the hum of ambiguity.

it isn't necessarily important to understand intent, or even assume it.  it is more important to recognize that you are a part of it.
  this is the democratic and social element to the work.

why keep asking if there is always an answer?  
keep the learning forward, because it is only momentum forward that will continue the questions of tomorrow.

on governors island

august 2011

suppliment to artist statment:

specifically, governors island offers additional silence in this search.  its history and its transient present offers a unique vantage point to my practice.  whether through the commute, the peeling away of paint, or the assemblage of the island itself, the strong contrast to the neighboring islands offers a new experience.  the revelation comes in the nuances of the silent specific to this place — gaining validity from its past, strength from its present and  hope in its future.

transient landscape

july 2011

introduction

transient landscape represents an investigation into our everyday — literally, the landscape that surrounds us and psychologically, the landscape of our mind. this “mindscape” is influenced by our physical surroundings the same as our perception of the physical landscape is influenced by our mind.

each of these artists approaches their imagery in a different way, but the subtle commonalities are surprising. whether in tone, accent, line, form or color, the artists represented here are challenging their surroundings by responding to them. by confronting that which may seem obvious, they begin to explore their own placement upon this landscape. this exhibit asks the same of its viewers.

the term “landscape” is used here to represent many forces. as metaphor, it can resemble our environment, the everyday, our life cycle, our internal struggles — . the essence of landscape also represents the idea of a constant. though we often move from space to space, our influence on place remains the same.

hays and hinrichsen may feel somewhat more attached to landscape as subject. though their images transcend the actual genre, we recognize them as such. cullinane, feaster and hubbard represent spaces more of form and abstraction, a visualization already in transcendence. and yet, bacon, choberka and fuqua bring forward object as landscape. pieces of the puzzle that connect our spaces — a to b and so on.

whatever the approach, much is asked of the viewer’s interpretation and participation as the spaces open up the mind through memory and familiarity in a dream-like way. the essence of landscape as executed is the transition from place to place. this journey is of utmost importance. the back and forth movement from here to there is truly what sets the boundaries of emotion and reality.

this back and forth helps define us as people and a society. it touches on our senses of desire and compassion. this exhibit represents a psychological journey constant in the unconscious of us all — lifting forward in our continuance and movement — in transience.

— text for visualizing governors island, a group exhibition on governors island produced by galleryELL.

artist statement 2009-2011

april 2011

i erect monuments, construct icons, unveil relics and immortalize the vestiges of an over-stimulated existence.

in this absurd contemporary moment the ordinary becomes extraordinary by bringing the unconscious to a visible, palpable form.  muted fragments crumble to scrap as assembled images demand attention by pulling the viewer into a quiet and meditative state.

approached thoughtfully, the neglected and the fleeting evolve to form meaning and elicit purpose.  it is the silent pulse of objects reflecting off a viewer that traverses the constraints of time and informs the scope of space.

the overlapping of industrial architecture and nature blurs the point of view and inspires my work.  by proceeding with concern for the environment and out of respect for our communities, the work reflects on the evolution of art with consideration for the future.  i create a visible cultural presence based on a reiteration and reflection on our existing surroundings.  monochromatic monoliths redefine our relationship to our environment and bring about a conversation of nature and sustainability.  texture, fragility and the fleeting all incorporate to form a monumental image by transforming relics into icons.  the images are constructed by assertively bringing the subtle to the forefront.  in this way the absurd post-industrial objects i create respond to their disposers.

in process, the newly formed, reductive images are shaped from re-purposed artwork, recycled material, and other discarded elements.  newly forged monuments tap into our unconscious.  the placement of each piece brings forth a meditation on memory and self while reflecting on sustainability and touching on the nuances of form.  this work draws attention to the absurdity and lack of meaning in objects, morals and actions, and redefines archetypes of our modern existence to evoke thought on our experiences.  the process of the creation of these works is reflective of the ultimate imagery and conceptual nature of the finished work.  as the work shifts more toward process and installation, it relies more heavily on the dialogue between one another and the spatial void in between.

it is a new appreciation and redefinition that shifts the meaning of objects and continues to redevelop the language of our surroundings, bearing in mind that it is not enough to simply bring the unnecessary (disposable) to a conscious level — a shift must come in the form of action against melancholy and its lackluster.  what is sustainable in life? in practice?  what has the most efficacy with the least amount of impact?  the essence of what is at stake is monumental.  to fully be sustainable we must look at ourselves, our resources, our futures.  by creating reductive, minimal, conceptual work rooted in process and space, i assert that awareness can be born of meditation and instinct.

download statement .pdf