11/16/16 11/16/16

arche.type

Arche.typecast cast abstract comic made with plaster, graphite, detritusinfluenced by punch cards, quipus, sailing and burial grounds

2/3/16 2/3/16

So Far

"So Far" is a phrase that can be two opposing things. On one hand it means "up to this point" and on the other it relays something in the distance. Whenever we think we we have landed, we have ever more to explore. Within the space of this room whose edges are softened by silk panels, a shadow-horizon bounces us back into the place we’ve landed. I invite you to gaze into the illuminated craters veiled by a layer of tinted white oil. Floating “lenses” allow you to view the grid of the mapmaker and fragments of collages below. We gaze into craters left after some mysterious impact. In these craters the images have missing parts, stories with hollowed out cores.

So Far installation
stained fabric, plaster basins, water and tinted Oil, wooden rings, mylar drawing stretched silk, transparency collages, LED lights, projected animation

1/3/16 1/3/16

Poems to the Sea

This abstract comic book is an unofficial sequel to Cy Twombly’s Poems to the Sea. This is the sounding and imprecise mapping of what lies between us, the surface, and the void. 24 pages, Federal Blue ink, Risographed, Saddle-stitched - Published by Ley Lines. Copies available in Shop

12/13/14 12/13/14

maybe we are the door

“maybe we are the door” is an interactive sculpture with plaster basin, liquid, wooden rings, light. Title and drawing text drawn from the hidden text in my junk mail folder

12/13/14 12/13/14

the impossibility of indexicality

9/20/14 9/20/14

Intermittent Transmission

6/15/14 6/15/14

Static I, II, III

4/19/14 4/19/14

Decoding Grief

6/15/13 6/15/13

freckle constellation

The movement and presence of stars are material we’ve use for millennia to mark our place in the world and navigate by. During a research trip to Ireland two years ago I visited the derelict home of my great-grandfather. As I travelled through the country, I found myself surrounded by people with the same abundance of freckles as I have. Our chaotic skins seemed to make up for the lack of stars so often obscured by the cloud cover common there. This abundance tied us to the landscape, and in response, I photographed my own freckles and made a paper map of them, interleaving pressed wildflowers as constellations (Figure 8). The paper maps hang above head-level to replace the naturally found drawing of stars in the sky with constellations of freckles. Thus I tied my inherited physical traits to the landscape of my ancestors.

5/10/13 5/10/13

what I might have said

The drawings in what I might have said respond to a paper origami balloon I kept in my pocket over several weeks. The paper balloon functions as vessel for breath, as well as potential container for words and phrases that cannot be adequately articulated. The air in them becomes pregnant with possibility. The drawings borrow their compositions from the creases left in an unfolded balloon. The marks found in each panel are systemized codifications of text from an old book never read. The marks become asemic, suggesting story and cadence, but denying specifics. They abstract into constellations, map-like and star-like at once.