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I’m interested in trying to understand whole individuals and whole ideas through the fragments of
perceptual memory, the sound bites, and the semiotic tokens collected by society and recollected by
the individual. It’s the product of these carefully selected elements that multiplies out to a greater
whole, and it’s in that product that I look for a more holistic understanding.
My present approach evolved out of what seemed at the time to be an artistic cul-de-sac: damage to
the nerves in my forearm from the single-minded pursuit of pointillism. Forced to think of other ways
to create art, I began pushing myself to experiment with new mediums: my torso, a tricycle, X-rays,
dandelions, the Bible, key phrases out of audience stories, and so on. The selection of the medium
became integral to the art, as much a part of the story and the holistic experience as the selected
fragments themselves.
In bringing my work to the public I look to create a public dialog with art, frequently inviting the
audience to contribute in some way, nearly always breaking apart the artistic process in order to
make it connect to a more immediate reality through video that shows manipulation of the medium
from fragments into a unified whole. It’s far from a didactic endeavor: I draw inspiration from my
collaborators’ experiences as much as they discover art through my work.
perceptual memory, the sound bites, and the semiotic tokens collected by society and recollected by
the individual. It’s the product of these carefully selected elements that multiplies out to a greater
whole, and it’s in that product that I look for a more holistic understanding.
My present approach evolved out of what seemed at the time to be an artistic cul-de-sac: damage to
the nerves in my forearm from the single-minded pursuit of pointillism. Forced to think of other ways
to create art, I began pushing myself to experiment with new mediums: my torso, a tricycle, X-rays,
dandelions, the Bible, key phrases out of audience stories, and so on. The selection of the medium
became integral to the art, as much a part of the story and the holistic experience as the selected
fragments themselves.
In bringing my work to the public I look to create a public dialog with art, frequently inviting the
audience to contribute in some way, nearly always breaking apart the artistic process in order to
make it connect to a more immediate reality through video that shows manipulation of the medium
from fragments into a unified whole. It’s far from a didactic endeavor: I draw inspiration from my
collaborators’ experiences as much as they discover art through my work.