Images

MONOLITHS

Monoliths is an ongoing collection of separate artworks looking at looking, focused on aspects of nature that appear to humans as constants of life: Neoplatonic, Memoria Technika (5 images), Capsula: Young Lovers, Capsula: Cistern, Tabes, Currere I, Currere II, Concanate I, Concanate II, Esker, Luna Cascade, Anaphora, Omniscient, Under the Sun, 30seconds of Lake Michigan, Melody, Undulation.

 

NEOPLATONIC, 2018, Film exposures digitally joined. Limited Edition of 25: 50 x 35 cm. Limited edition of 8: 70 cm x 45 cm.

 

 

MEMORIA TECHNICA, 2015 – 2017, a series of 5 monolithic images, sizes vary, recent exhibition of the monoliths measured 90,64 x 180 cm ( 35,68 x 70,87 in ), Film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. Reflected and refracted rays form a curvature filled and hollowed by literary translation of tactile qualities associated with the four seasons. The monolith as markers in chronoception – the sense and perception of passage through time.

 

 

 

CAPSULA: YOUNG LOVERS, 2017, Film exposures arranged as a horizontal monolith. 

 

 

CAPSULA: CISTERNS, 2017, Film exposures arranged as a horizontal monolith. Photography and subjectivity are seemingly inseparable, and the question of using the image as a document or proof of interior experiences contains slippages drawing lines between narratives and proof. In this particular monolithic strip, the eye confronts dark spaces and strips, the absences as frames around references. The darkened environment contains moss, a staircase, Japanese style bridge, stone arches, and affective tonal lighting. The psychological place viewed within the subterranean horizon involves an experience of a maze, not of wonder, but of gamification. The technological tones, repetition of scenes, points to the place being made by an architect, not of the viewers making. A trap could be revealed with more light. Seeing through the dark, the imprisoned viewer becomes acutely aware, either hypersensitive to details or dulled by the trap of gaze. The monolith reveals the way spectators in the world become subjected to psychological games structural builders create. The routes of egress also predetermined. The images were made in the @cisternerne in Copenhagen, Denmark, from the Sambuchi installation.

 

 

TABES, 2017, Four Film exposures digitally joined. 

 

 

CURRERE I, 2016, Film exposures digitally merged as a monolith. 

Limited Edition of 25: 35 x 50 cm ( 14 x 20 in ) Limited Edition of 8: 44 x 70 cm ( 43.7 x 59.5 in )

The Print Ateliér represents this artwork (external link).

 

 

CURRERE II, 2016, Film exposures digitally merged as a monolith.

Limited Edition of 25: 35 x 50 cm ( 14 x 20 in ) Limited Edition of 8: 44 x 70 cm ( 43.7 x 59.5 in )

The Print Ateliér represents this artwork (external link).

 

 

 

CURRERE, 2016, Film exposure. 

Limited Edition of 25: 35 x 50 cm  ( 13.6 x 20 in ). Limited Edition of 8: 70 x 45 cm  ( 27.213 x 40 in )

The Print Ateliér represents this artwork (external link).

 

 

CONCATENATE I, 2016, Film exposures digitally joined. 

 

 

CONCATENATE II, 2016, Film exposures digitally joined. 

 

 

 

LUNA CASCADE, 2016, Film exposures digitally joined, Edition of 25: 37.6 x  50.8 cm ( 14.8  x 20 in ), Edition of 8:  74.9 x 101.2 cm ( 29.5 x 39.83 in ) The artwork can be printed on various art papers, etched in glass, sublimation printed on textile or woven in fabric. Contact the artist for custom size and exhibition inquiries. The Print Ateliér represents this artwork (external link).

 

 

ESKER, 2016, Film exposures digitally joined. 

The Print Ateliér represents this artwork (external link).

 

 

ANAPHORA, 2015, film images printed on single surface, 103,91 x 84,79cm (40,91 x 33,38in). 

The Print Ateliér represents this artwork (external link).

 

 

OMNISCIENT, 2015, 101.6cm x 304.8cm ( 40 x 120 in ), monolithic image and text: A monument of future history. The image stands as a totem for the change in social structure toward the wisdom of water. Water emerges as the discourse for the emotional body. The emotional body serving as the pathway for the wisdom of intuition. In the new world, emotional suppression as poverty and polluted waters cease through the cleansing of pain into ecstatic expression. Responsibility for water comes through the reverence of its high wisdom. Sacred in the new society, water is respected, protected, cherished and shared freely among people to create humane societies upon all lands. A reverence for water solidifies the respect and preservation of the emotional body constituting a humane society for humans to exist in.

 

 

UNDER THE SUN, 2015, 5 image panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as a horizontal monolith as turns on time. Vertical images mark points of the sun in relationship with a blank journal and vision of the viewer. Perception of positive and negative spaces, curvature, shadow, mark a sense of perception of passage through time.

 

 

30seconds of Lake Michigan, 2015, triptych, images on acrylic panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as film. The horizon shifts to create the sense the viewer is standing on boat. This is one of the artworks close to the immediacy of presence in the temporal qualities of lived experience and memory. When mounted in space or on a wall, light passes through the images and create a shadow of the plane behind the image.

30seconds of Lake Michigan focuses on the nature of time, being, and becoming. As photography seeks to represent a moment frozen in time, the nearly frozen lake ebbs and flows. Each frame of film exposed was from a different wave, reconstructed back together as a film strip and mounted as a triptych on clear acrylic. In the way that the field of vision is transparent and direct, the printed images on thin acrylic represent a narrative of the water itself. The state of flow invites viewers to slow down into breathing, witnessing as suggested 30seconds of inhaling and exhaling with the water all at once. The collapse and joining of space and time merge the processes of being and becoming with the goal of transcendence.

 

 

MELODY, 2014, 5 image panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as film strip. 

 

 

UNDULATION, 2014, diptych, Film exposures, 104 x 85 cm (40.9 x 33.4 in) Accumulated layers of frozen water exposed on film and arranged into a formal diptych. The work is one in the ongoing series: Monoliths. The artwork can be printed on various art papers, etched in glass, sublimation printed on textile or woven in fabric. Contact the artist for custom size and exhibition inquiries.

 

 


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