I create work around socio-cultural and anthropological themes. My objects, installations and projects address the cultural preservation of art-as-art in an era of art-as-commerce and art-as-media . My paintings are records of encounters between materials and process, in the place and time I use them.
The Communication Project
In this project, art produced in the studio is covertly installed in or near dedicated cultural spaces. The installation is documented by photographing the art at the time of placement. Photographs are published revealing the artifact in situ, but not revealing contextual information which could betray the specific location. The name of the institution or space is revealed.
If no witness is present during the installation, a report is shared with a trusted critic, theorist or artist. The report includes confidential photographs revealing the specific location of the installation.
Once work is installed it becomes an artifact of the project. It may remain in place or be removed by the institution and kept, sold or exhibited in collaboration with the artist.
The exchanges produced by the communication project have the same ephemeral quality as other conversations – they may or may not be remembered or recorded beyond the original installation documentation and reporting.
When proximity adjustment is the method of creating art, the materials and methods used to assemble, group or otherwise relate materials are of equal importance. The adjustment can involve changes to an object, the object’s environment, the context or location of the object or the way in which the object is displayed or referenced.
The placement of an idea into a proximity relationship is a conceptual act of art. This may involve a presentation through words, symbols, situations and other media. The object/idea could be an art object, media such as sound or light or an even more elusive/intangible force.
My work is primarily created through acts of proximity adjustment. Through investigations in the studio, I build the objects. The work is then placed or installed. Thereby, the production and installation of art also becomes the introduction of an idea into a space. Both the construction of the objects and the communication project installations address this proximity syntax .
The work is perceived by the viewer with the sense doors; the thought of mind, the feel of touch, the hearing of sound, the seeing of light, and the fragrance or bouquet of smell or taste. The art may also access other senses such as the physical sense of balance felt by the inner ear, the acute sensitivity of pheromones or the empathic and intuitive senses.
When trying to describe art beyond its formal characteristics the viewer enters a kind of interpretive quicksand. They ask “what is its purpose, its meaning, its value, its effect?” The first instinct of the mind is to compare new experiences with old experiences. (The eyes do not see without the mind. There is no sight without the thought of seeing.)
My work asks the viewer to unlearn certain perceptual habits in order to successfully see not what the mind finds familiar in the art, but rather what is actually there in the work they are examining. Will they care for, encourage and protect the work? Or will they remove, destroy and prevent the work?