My art interweaves visual commentaries about the synergies and conflicts emergent from intermixes of manual and automated processes; cross-productions of the tangible with the virtual; data drifts, semantic shifts, objective obsolescence, digital detritus…
A primary aim is for the work to stimulate and beguile viewers’ curiosity and intelligence, while affecting unique personal interpretations colored by mutable states of meaning and the oscillations between perplexity and cognition.
Projects often originate from simple premises; minor game-like kernels that evolve and expand into productions of rule-based serial relativity. A work’s initial focus might reference something as incidental as a linguistic (in-)congruence, a (mis-)hearing of spoken words or (mis-)reading-between-the-lines of text passage or (mis-)perceiving fleeting elements within the visual field. Noisy signals / raw data. From such serendipitous sensory stimuli, ad hoc narratives emerge to provoke each artwork’s peculiar significations; puns and semiotic distortions play substantial roles.
End results tend to be physically crafted from wide interplays 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 odd-but-familiar artifacts from some alternate, previously unexplored realities. My aim is to cajole viewers into active participation; sensing and decoding the interplayfulness between the work’s narrative and its many conceptually disruptive elements. Ideally, each of these real-but-maybe-not-so-real presentations hope to tease viewers’ into deeper perceptual and intellectual readings and piqued contemplation. And sometimes to trigger an antagonizing instinctive wont for physical interaction. (“It cries out for my manipulation, yet it is art; I may not touch!”).