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.

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.

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.

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.

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

the dialogue between industrial architecture and nature inspires this work.  reductive monochromes redefine relationships to our environment, shifting the focus to sustainability.  texture, fragility and the fleeting all incorporate to form a monumental image by finding visual relics and revealing their hidden power as icons to the vestiges of our over-stimulated existence.  these icons are unveiled by assertively bringing the subtle to the forefront.

this recent drawing series starts with the aqueous element.  the organic shape is then confined, restrained.  upon further study it is built on, unearthing the power of the relationships between the organic and inorganic -- nature and industry.  the specimens are categorized and grouped as the formation of rows and columns form building blocks.  elements.  these maps or aerial views transcend themselves and invoke the viewer to do the same.

newly found elements tap into our unconscious.  minimal imagery brings forth a meditation on memory and self while reflecting on sustainability and touching on the nuances of the formal.  by creating reductive, minimal, conceptual work rooted in process and space, i assert that awareness can be born of meditation and instinct.

^{untitled, mixed media on paper, 2010.}

the studio evolves based on ideas developed from recent series in repetition. post industrial decay stands at the forefront while maintaining an emphasis on meditation, sustainability and the subtle. the practice shifts toward process and installation, relying more heavily on the dialogue between each image and the spatial void in between. these relationships are necessary, not only for understanding the continual progress in the studio, but also for negotiating the relationship in shifts of perception (as in desire, need, integrity, honestly, patience, fortitude, etc.) — shifts of awareness.

statement for: earthstewards coalition exhibit

part one.

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

this absurd contemporary moment solicits images and obsessions created by the ordinary becoming extraordinary. approached with responsibility, the fleeting can evolve to form meaning and illicit purpose beyond any of our expectations. it is the silent pulse of objects reflecting off a viewer that negotiates the essence of time and informs the scope of space.

meditative and surreal, the absurd post-industrial objects i create respond to their disposers in terms of industrial architecture versus nature. it is the overlapping of the two that blurs the point-of-view and inspires this work. by proceeding with concern for the environment and out of respect for our communities, my work reflects the evolution of art with a consciousness of the future. it is this appreciation and redefinition that shifts the meaning of objects — from formal to conceptual — and continues to redevelop the language of art.

part two.
it seems the concept of sustainability is everywhere. ‘reusable’, ‘low impact’, ‘carbon foot print’. sustainability need not be an environmental term. what is sustainable in life? in self? in production? what has the most efficacy with the least amount of impact?

it is easy to look elsewhere for salvation. the savior is alluring because it allows for a scapegoat to failure… and/or ever really trying to better a situation. the essence of what is at stake is monumental. to fully be sustainable we must look at ourselves, our resources, our futures — in our present state and in our presence.

if we continue to take from this land — her people, her resources — not only do we fail our stewardship over her, we also fail ourselves, our neighbors and our future generations.

part three.
it is not enough to simply bring the ‘unnecessary’ [disposable] to a conscious level — a shift must come in action against melancholy and it’s lackluster.

use of recycled material as consultant. sense of iconography based in the absurd. absurdity in objects, morals, actions…

concrete reductive art and the sustainability of art making and it’s audience. limits and ability — changes and meaning.

connectivity to moments of space and time. circuit closes — moment defined. completion crosses a new line. from this space — this travel — the collection of material broadens while fragments fill in voids and informs on the case at hand.

moments link to form a whole. they remark singularly and cumulatively. it is about the connection between similarity and difference — nuance and subtlety — balance and/or lack of balance in sound and sight. these inform the moment and define the object.
the constant hum is the silent rhythm which enables continuance.

the process has been mapped out by the spaces inhabited and time spend understanding the essence of each. it has been from working on paper, building collage and fabricating assemblage, minimally, that has informed on these objects of a larger space — .