OBJECTS IN SPACE
(Found or assembled tableaus of incoherent items)
Objects in Space started as a sculptural exercise, which transformed my practice from three-dimensional to two-dimensional. Both practices involve time as a key factor in the creation of these objects or images. You often experience three-dimensional work in two-dimensional image form, making the simulacrum more real to one’s experience than the actual object. The incongruous placement of items in environments, along with the selection of objects and the happenstance of these found spaces, allows the viewer to make personal connections and imbue narrative structure and meaning to what might otherwise be meaningless.
Network
Disconnect
(None Arboreal Networks of Human and Environmental Connections.)
Network Disconnection refers to the non-arboreal networks of human and environmental connections. It encompasses the incongruous states of human interaction with their environment, as well as the propaganda that technology promotes about a more interconnected and homogeneous global civilization. In reality, this technology often causes ruptures in attention and long-term memory.
Image-making serves as a process of accountability between one’s virtual self and one’s true ego and memory. The nostalgia and gaze exchanged between the subjects and the artist aim to create connections among multicultural places, objects, and people. Humor is the best medicine for connecting with the absurdity of simulacra and simulation.
Image-making serves as a process of accountability between one’s virtual self and one’s true ego and memory. The nostalgia and gaze exchanged between the subjects and the artist aim to create connections among multicultural places, objects, and people. Humor is the best medicine for connecting with the absurdity of simulacra and simulation.
STRATUM
(Information compression and artifacts)
Stratum is the eventuality of time and entropy on a biological system—dense layers of information that form in rock or soil, compressed events telling the story of an era. Born from the aesthetic of a rune, my sculptural practice seeks to understand that all civilizations eventually fall into destruction, and all that remains are the strongest stone objects. I began creating objects out of cement and stone that lay in harmony with their rocky environment, later photographing these objects along with areas of geological collapse, mountainous regions, and desert landscapes where people have carved into stone.
I also document regions where fire has left a layer of ash and draw from a childhood collection of petrified wood and stones. All of this is an effort to make sense of the beauty and incomprehensible amount of time it takes to create large geological formations or precious stones. I aim to draw parallels between the immensity of time and the brevity of human existence. We are merely children on the scale of our surroundings, yet we strive to create everlasting works that are ultimately futile in the face of entropy.
I also document regions where fire has left a layer of ash and draw from a childhood collection of petrified wood and stones. All of this is an effort to make sense of the beauty and incomprehensible amount of time it takes to create large geological formations or precious stones. I aim to draw parallels between the immensity of time and the brevity of human existence. We are merely children on the scale of our surroundings, yet we strive to create everlasting works that are ultimately futile in the face of entropy.
Fluid Dynamics
(Material play with causality and desire)Play has always been a main component of my work. Nostalgia, science, and history are at play in the project Fluid Dynamics. The Western Interior Seaway during the Cretaceous period left the deserts of the western United States with fossilized shells and sea creatures. I’ve always been fascinated by the thought of microscopic organisms floating through fluids or gases, the creation of life, building blocks of proteins, and carbon molecules combining to form cellular organisms that build upon themselves—the origin of species, so to speak. I liken it to how, as we play in our youth, we combine and mix things, imagining the creation of something out of nothing. Hands thick in the mud or the sands of the beach—the primordial soup flowing all around us.
Balloons, smoke, and objects in the desert air play with the past, combine with the present, and freeze in time. It’s the joy of color in a monochromatic landscape, shapes littered with anthropomorphism, floating briefly in the air before crashing to the ground or dispersing into nothingness.
Balloons, smoke, and objects in the desert air play with the past, combine with the present, and freeze in time. It’s the joy of color in a monochromatic landscape, shapes littered with anthropomorphism, floating briefly in the air before crashing to the ground or dispersing into nothingness.
PORTAL AND AURAS
(Entrances and exits through the vail of magical realism)Spaces are magical, spiritual, and emotional, each with their own character. They feel alive, and light is the language through which they speak. Entrances and exits, thresholds between one space and the next, are like veils between different states of consciousness. The fluidity of moving through realms and states of being is what Portals and Auras attempts to explore and encapsulate.
