The present is has been referred to as a cognitive illusion. We constantly project the very short-term future based on an ever-expanding archive of memories that defines our idea of the past. I find the symptomatic evidence of the passage of time in landscape, infrastructure, and domestic spaces. It is these spaces that bind together the incomprehensible geological time (or deep time), to that of capital, and the cycles of consumption, and occupancy that compose and punctuate our day-to-day existence.
The traversal of land belongs to a grandiose time scale that thereby tempts the limits of comprehension. The phenomenon of viewing land comes with multiple attached histories, specifically, those histories that are documented and recorded, and those that are retroactively constructed by a lineage of evidence and research. Tracing the Inevitable Axis/Point re-situates the traversal of an island into movement that circumscribes the viewer and accompanies the sounds of writing, then inscribed upon the cinematic void of a green screen. Arche/Structure was created for a specific venue with a unique history as a depot for a now defunct train line that was once integral to the infrastructural development of central New York State.
Exhaustion is built in to the occurrences of the day-to-day; a quotidian deconstruction and reconstruction that may be articulated in images as traces, recorded photographically–within a material that is mere traces–ultimately not only depicting something, but a temporary state or situation. Shallow Topographies and Sub/Floor are photographic series that reference traces in the domestic space, as marks that suggest writing, erasing, and embossing. These images are like ash, each comes into being only in the annihilation of something else.
I welcome the opportunity to work on a commission basis. My approach to commissions is similar to my interest in site responsiveness. Commissions will be built in collaboration with the patron, and emphasize the the unique elements of the histories embedded in the spaces they occupy and traverse, and how these spaces visualize the symptomatic traces of their place in time. In keeping with my practice, I am open to the possibility of working with photography, video, or sculpture, in creating an original work for the patron.