My art interweaves visual commentaries about synergies and conflicts emergent from intermixing manual and automated processes; cross-productions of the tangible and the virtual; data drifts, semantic shifts, objective obsolescence, digital detritus.
A primary aim is for the work to intelligently stimulate and beguile viewers’ curiosity; to elicit unique interpretations pleasurably colored by the mutable states oscillating between perplexity and cognition.
Projects often originate from simple premises; minor game-like kernels that evolve and expand into productions of rule-based serial relativities. A work’s initial focus might reference something as incidental as a linguistic incongruence; (mis-)hearing of spoken words or (mis-)reading-between-the-lines of text passage or (mis-)perceiving fleeting elements within the visual field. Noisy data. From such serendipitous sensory stimuli, ad hoc narratives emerge to provoke each piece’s peculiar significations; puns and semiotic distortions play substantial roles.
End results tend to be physically crafted from wide intermixes of materials (natural/synthetic) and processes (analog/digital). Various woods, papers, canvas, paints, markers, inks, plastics, resins, wire, electronics, hand tools and software typically serve my creative transactions.
I tend to fabricate multi-layered “systems” that, at first blush, seem like oddly familiar artifacts from some alternate, previously unexplored realities. My aim is to cajole viewers-as-participants into sensing and decoding the inter-playfulness of the work’s many conceptually disruptive elements. Ideally, each of these real-but-maybe-not-so-real presentations teases the viewer’s perceptual and intellectual readings into deeper contemplations; sometimes to trigger their unrealizable wont for physical interaction. (“It cries out for my manipulation, yet it is art; I may not touch!”).