Postmodern Sceneries, 2009 – 2019.
Cultural Exports, 2017- ongoing, archival digital print on paper, images 50.8 x 7 cm ( 20 x 30 in ).
Sentire (Grow), 2017, film exposures of grow operations in Denver, Colorado.
Relatively Dimensional Still-Life, 1919 in 2017, 5 image set, archive ink on digital negative film (13 x 19 inch). Ltd. edition of 3. The candle, a tradition in Dutch still-life painting is realised through a utopian ideal of dematerialised reality. Extreme minimalism and IKEA interior objects are filtered into CMYK printing channels and layered to create a ghostly image, as a representation of the way images layer and flow before our eyes on digital screens.
Ultraviolet Forest, 2015-2016, size variable. Images cast in UV spectrum. Forensics, UV spectrum, and the phenomena of phosphoresce are used to realise a surreal spectacle of visual imaging technology as replacing the reality of the landscape. Starved Rock State Park in Illinois was the original place the images were made. The historical site of conflict become a physical monolith by layering the representations into monoliths.
Laisséz Unfaire (Lascia Fare), 2011-2014, photography, 77 x 115 cm (30 x 45 in), archival ink on epson matte paper.
Formed by wear & machine labor, formal studio-lit portraits of residual machined-washed attire. Remains caught from the drying machine sieves in homes and laundromats in the USA, found to a lesser degree in countries, such as Norway or Japan, where plein-air drying remains common.
As an image, the portraits become friendly and posed objects. The archive created from after-materials to consider the residue of daily wear as a site for deeper understanding.
The first impulse to make these photographs was my interest in dust, magnetics, and accumulation. As Sally Mann made What Remains, I wondered, what could I find to understand a system by studying a byproduct of that system. My interest in invention and critique of the idea of Progress led me towards looking at the remains of machines designed to perform repetitive, daily labor, and the relations these have on labor and value.
Taking-care, tidying, handling residual material are matters which are historically considered invisible, or at least marginalised. In a Laisséz-faire system the government is out of business dealings. In a Laisséz-unfaire system there are ways of gathering remnants. Years later, I would come to find the meaning in Italian, through the sound: Lascia Fare-which means, to Let It Be. And so in this project, Laisséz-Unfaire (Lascia Fare), is a result to make visible the nascent knowledge embedded in the everyday life of housework. To look at these byproducts to reveal the machinations around the ideas of progress, and to evaluate their qualities.
Franz Kafta wrote, “We photograph things in order to drive them out of our minds.” Older works the residual objects (of modernity) occupying ideals within a pictorial field.
Equation, 2014. Photographic Print, Edition of 2. Artist proof available. An image as material evidence of a philosophical theory – comparison simultaneously centralises topical similarities while decentralising the set, acceptance of differences strengthens the group and the reference remains unknown.
Sonidos, 2014, photographic images in series on acrylic, size variable. Artist proofs on paper. Digital audio files applied as grids upon film exposures of rural landscapes in a digital manipulation process.
Sublime Domains, 2013 – ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.
Interior Lights, 2009-2012, giclée. Analogue film printed at limited editions of 8. Sizes vary.
Not Even But Almost, 2009-2010, c-prints. Exhibited at Old Town School of Folk Music in Lincoln Square, Chicago, Illinois. The framed, c-prints are privately owned.
Liminal Metanoia, 2009-2010, c-prints. A limited edition of images were printed and collected by private individuals. Click this text to view the exhibition in Georgia.
Inter space, 2008 / 2009, photography. 25.4 x 15.24cm (10 x 6in). Selected images published in Neo New Age zine, 2012, Chicago.