Artist Statement 2019

I work predominantly in lens based media, exploring the methods and techniques of photography and cinematography. I utilize both narrative and experimental modes when creating work to investigate how the pliability of visual materials intersects with cultural approaches to image making. I often use non-traditional processing techniques that cause images to shift dramatically in color and texture. This is intended to draw attention to the artifice of the image and bring to the forefront the inaccuracy of the photographic process. In other cases I elevate byproducts of the image-making process into the forefront. For example my Lightscape series is created from the cut-off ends of negatives usually destined for the trash. These images are then printed as panoramas evoking mysterious landscapes.

My work pushes and pulls on filmic processes looking for corner cases and unintentional consequences. This might be seeing how many exposures I can layer in a negative, or how a three dimensional film print behaves when run through a projector. In one of my current pieces Mnemonical I begin with a live multi-projection performance in the tradition of expanded cinema installations. The projectors are loaded with 16mm and super 8mm found footage ranging from home movies, corporate videos, to blockbuster movies. The projections are thrown onto shared screens and manipulated live by the projectionists in a semi-choreographed performance. The projectionist’s reactions and participation add agency to the chaotic and happenstance overlap of images. During the performance I film the resulting compositions and collapse the cinematic expansion into a shifting media distillate. This causes an overmodulation of the compositions by literally and figuratively blurring their intended meaning to create a shifting landscape of mediated imagery.

Recently I have been curious about physicality and presence as it relates to the creation and ingestion of digital imagery. I have been trying to find the seam between digital image encoding and analog physicality. While I use digital toolsets in the creation of my work it often originates in physical analog processes, where the tactile manipulation becomes an important part of the inception of the work. I am particularly interested in how the image object is being replaced by the image interface and the new ways in which that affects our relationship to memory and perception.