My work generally explores the realm of metaphysics, with particular emphasis on notions of existence. My current body ferments itself in the observation of whole entities and their parts, and the relationships between them and their supportive environments. I am an observer, and a listener, and my work pays homage to forms, their materials, and the temporality of their being.
In my current experiments, I explore the paradoxes of current contemporary issues, such as the distinction between painting and drawing. My work is also deeply concerned with notions of formal and anti-formal compositions and how materials both interact, and shape the image. By embracing conventional methods of mark-making and the assimilation of experimental forms of craft, my work assumes the identity of multimedia constructions. I employ methods of combining visual gestures and sometimes language, with chanced circumstances, and reconstitute them to represent a determinant of asymmetric solidarity. By observing known but foreign perspectives, my work often questions the genesis of the ‘object’, explores perceptions of substance, and above all, denotes the magnetism of location. What I hope to achieve with my work, is a stronger awareness of how and why we arrive at our current reality, and if that awareness can determine a probability of change.
I trust in the process and journey of heuristic creation, and accept every one of its challenges: technical, psychological, even archeological, and I bask in the interval of the unknown. In the words of Willard Van Orman Quine, “To be is to be the value of a bound variable.”
Nina Katchadourian - Mended Spiderwebs (1998)
“In the forest and around the house where I was living, I searched for broken spiderwebs which I repaired using red sewing thread. All of the patches were made by inserting segments one at a time directly into the web. I fixed the holes in the web until it was fully repaired, or until it could no longer bear the weight of the thread.
In the process, I often caused further damage when the tweezers got tangled in the web or when my hands brushed up against it by accident.
The morning after the first patch job, I discovered a pile of red threads lying on the ground below the web. At first I assumed the wind had blown them out; on closer inspection it became clear that the spider had repaired the web to perfect condition using its own methods, throwing the threads out in the process.
My repairs were always rejected by the spider and discarded, usually during the course of the night, even in webs which looked abandoned.”
Being Silly with a Goose, Being Silly with a Noose
Collages by Office Supplies Inc.
The Writing Ball ca. 1865
The Hansen Writing Ball was invented in 1865 by the Rasmus Malling-Hansen.
The writing ball was first patented and entered production in 1870, and was the first commercially produced typewriter.
Is it just me or does this look like the greatest engagement ring ever?
Some more collages and quick drawings — preparatory work for soon-to-be larger 2-D works.