My work explores systems: their creation, control, use and experience of them.
In 1994 I became interested in human interaction with technology and nonlinear information. Much of my work that followed dealt with the internet and code. My investigations made me increasingly intrigued with the relationships between perception and coded language. I began to explore the organization and chaos of complex systems, including tax evasion, the metaverse, money laundering, sock puppets and astroturfing, identity theft, the technological singularity, and most recently waste, urbanism, pathogens and poisons. My interpretations of these kinds of information spaces are motivated by my daily visual intake and life experiences.
Infrastructures, global warming and climate change, identity, crime, consumerism, misinformation, semantics, sociology, pollution, overpopulation, waste, urbanism, pathogens, poisons, war, pandemics- these are some of the topics that drive my thinking and production of my work.
Artist statement for “Convenient Gratification” solo exhibition at Robert Henry Contemporary
May 30 through June 29, 2014
I’m constantly evolving the array of forms/elements within the visual language I use throughout my work. Each element is not intended to have a singular or literal interpretation. For example, dense amorphous void like shapes represent cancer, glaciers, particles, pathogens, black holes, islands, etc.. These elements are more so often than not, intended to express intrusive dominating and destructive foreign bodies, however, in the same breath they can and should be viewed as neutral and peaceful entities. This type of duality, contradiction and conflict permeates through the work. There is an intended unfinished quality to the drawings. My aim is to imply a sense of growth and/or movement. I leave the work “unfinished” whereby lines that are not actually made, but still yet, a viewers mind may subconsciously make a leap visualizing them, even though the marks are not present.
I naturally gravitated towards using ink because I enjoy how it sits on paper, its permanence and because I don’t sketch or plan out anything, for the most part, prior to applying ink to paper I revel in the decisiveness and confidence of the mark-making by this process. More than anything else I simply enjoy working with the medium immensely. Through a process of elimination and trial and error I found myself simplifying the mediums I was choosing to work with. What started out as an exercise in restraint ultimately turned into an approach that intuitively felt right for this body of work. The work is done primarily with rollerball pen refills. The immediacy of working with common place office supplies has intrigued me for many years and it just so happens that I found a pen that comes with acid free light-fast ink inside.
Through a process of elimination and experimentation over time, I arrived at using the specific blue color and type of ink for these drawings. Initially it was a very fluid decision because I wanted to break away from solely using a color palette of black, white and grey that the first few works in this series were created in. What began as a technical problem I was attempting to solve turned into a solution of simplification and restraint that met both my conceptual and technical needs in achieving a dense, diverse, rich and layered look.