Giclée Monoprint
22" x 17"
Giclée Monoprint
17" wide
Giclée Monoprint
17" wide
Giclée Monoprint
17" wide
Giclée Monoprint
17" wide
Giclée Monoprint
17" wide
Giclée Monoprint
17" wide
Giclée Monoprint
40" x 30"
Giclée print on coated cotton fabric, stretched
40" h x 30" w
(installation view)
(DETAIL)
Giclée print on coated cotton fabric, stretched
40" h x 30" w
(installation view)
This is a selection of 12 pieces from a body of work. The artworks are followed by installation and detail images.
August Lake, 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
White Lake, 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (orange), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
NYC (gray), 2013
17 by 43-inch giclée print, framed to 26 by 50-inches
Great Lake (gold), 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
Siesta Key, 2013
17 by 41-inch giclée print, framed to 26 by 50-inches
Otolith Shift (orange), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (teal), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Otolith Shift (pink), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Chicago (pink), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
NYC (blue), 2013
17 by 35-inch giclée print, framed to 26 by 44.5-inches
Boston, 2012
17 by 39-inch giclée print, framed to 26 by 48-inches
Boston, 2012
(detail as framed)
(detail)
(detail)
(detail)
(installed)
Otolith Shift (front), Endolymph Ocean (back), 2013
Each digital print is a 48-foot loop tailored specifically for this gallery space
Otolith Shift, 2013 (detail composite)
15-inch by 75-foot digital work that is edited to accommodate various installation environments
Endolymph Ocean, 2013
This digital print is a 48-foot loop tailored specifically for this gallery space
Endolymph Ocean, 2013 (detail composite)
15-inch by 60-foot digital work that is edited to accommodate various installation environments
Endolymph Ocean, 2013 (detail)
15-inch by 60-foot digital work that is edited to accomodate various installation environments
Otolith Shift, 2013 (detail)
15-inch by 75-foot digital work that is edited to accommodate various installation environments
Otolith Shift, 2013 (detail)
Otolith Shift, 2013 (detail)
Otolith Shift, 2013 (detail)
Boston, 2012
17 by 39-inch giclée print, framed to 26 by 48-inches
(installation image) Leeward exhibition, Las Vegas 2017
August Lake, 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
White Lake, 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (orange), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Otolith Shift (pink), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
The Great Lake, 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (gold), 2017
17 by 41-inch giclée print, framed to 26 by 50-inches
Chicago Pink, 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (teal), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
NYC (gray), 2013
17 by 43-inch giclée print, framed to 26 by 50-inches
Great Lake (brown), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Siesta Key, 2013
17 by 41-inch giclée print, framed to 26 by 50-inches
Otolith Shift (orange), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Great Lake (blue), 2015
17 by 41-inch giclée print, framed to 26 by 50-inches
Otolith Shift (gray), 2015
17 by 42.5-inch giclée print, framed to 26 by 50-inches
NYC (blue), 2013
17 by 35-inch giclée print, framed to 26 by 44.5-inches
Boston, 2012
(detail of framed work)
(installation image) Fluid Horizon exhibition
Memory, along with its shifting nature, influences perception and has the ability to alter our interpretations, especially over time. As a result we can come to understand something in a way that it never existed. Each two-layered print in this series features a repeating pattern that dissolves as it moves away from a central point. The layers of the print are not quite synchronous creating a visual interference and further complicating the image. The color schemes in the work are derived from early color photos of domestic interiors (in their present faded condition) layered on top of RGB and CMYK color spaces.
Myotis Thief
40 by 28-inch Epson digital print on paper and vellum
Myotis Thief, (detail)
Family Turdidae
20 by 16-inch Epson digital print on paper and vellum
Family Turdidae, (detail)
Fatigue
20 by 16-inch Epson digital print on paper and vellum
Fatigue, (detail)
Suspended (leaf series)
The way we come to understand the world is mediated through the complex and multi-faceted process of human perception. I saw paradoxical perceptions and visual phenomena as an indication of a rift between cognitive, physical, and sensory components of perception. The Suspended series considers the role of the unconscious mind, vision, and memory (especially memory of prior experiences) in shaping perception. The imagery in this series features brittle, dried leaves captured through a scanning process I adapted based on experimental film techniques. The result adds a sense of animation to the plants as if floating on invisible currents in an opaque sea. Themes of archiving or preservation in this wok parallel the influence of memory on perception. This effect is particularly interesting when we re‑confront something we perceived in the past and the memory does not match the current perception.
Suspended (lightboxes)
The use of lightboxes mirrors the scanning process in reverse and highlights the influence of optical devices on perception. Furthermore, the use of technology is intrinsically linked to the commentary on preservation.
(L to R) Suspended #225, Suspended #346, Suspended #150, Suspended #289, 2010-2013
Duratrans images mounted on 10 by 12.5-inch lightboxes
Suspended #225, Suspended #346, Suspended #150, Suspended #289, 2010-2013 (details)
Duratrans images mounted on 10 by 12.5-inch lightboxes
(L to R) Suspended #350, Suspended #276, Suspended #324, 2010-2012
24 by 30-inch digital prints face-mounted on non-glare acrylic
Suspended 276, 2012
Suspended 350, 2012
Suspended 225
Suspended 342
Suspended 346
Suspended 146
Suspended 109, 2010
Suspended 354
Suspended 150
Suspended 289
Suspended 334
Suspended 244, 2013
(L to R) Suspended #146, Suspended #109, 2010-2012
24 by 30-inch digital prints face-mounted on non-glare acrylic
This work is an extension of the concepts explored in the SUSPENDED series.
The flowers used in these works were selected from floriography texts as a reference to issues of language, metaphor, and cultural context in perception, and the use of insects references the paradoxical nature of entomology collections – that specimens are killed for preservation.
Suspended 742, 2012
24 by 30-inch digital print face-mounted on non-glare acrylic
Suspended 742 (detail)
Suspended 723, 2012
16 by 20-inch digital print face-mounted on non-glare acrylic
Suspended 723 (detail)
Suspended 100
Suspended 126
Suspended 710, 2012
20 by 16-inch digital print face-mounted on non-glare acrylic
Suspended 714, 2012
16 by 20-inch digital print face-mounted on non-glare acrylic
Three Graces
Curled Figure
L to R: Suspended 126 and Suspended 100
Suspended 742 (installed)
This collection of images focuses on the sometimes-tenuous relationship between an event or experience and our perception of that event or experience. Digital and analog glitches can be created using a variety of techniques, but this instance is the result of a storm that interfered with a television broadcast of a war documentary. The glitch is a visual disturbance obfuscating and aestheticizing the original content.
Still 71, 2015
11 by 17-inch giclée print (digital print)
1239, 2015
11 by 17-inch giclée print (digital print)
Hand 98, 2015
11 by 17-inch giclée print (digital print)
Still 75, 2015
11 by 17-inch giclée print (digital print)
1300, 2015
11 by 17-inch giclée print (digital print)
Still 72, 2015
11 by 17-inch giclée print (digital print)
Hand 96, 2015
11 by 17-inch giclée print (digital print)
1289, 2015
11 by 17-inch giclée print (digital print)
1213, 2015
17 by 11-inch giclée print (digital print)
1170, 2015
17 by 11-inch giclée print (digital print)
1209, 2015
11 by 17-inch giclée print (digital print)
1326, 2015
11 by 17-inch giclée print (digital print)
1291, 2015
11 by 17-inch giclée print (digital print)
Water Lilies, 2015
12 by 24-inch giclée print (digital print)
Drawing a Line, Study #1, 2010
Drawing a Line, Study #2, 2010
These videos are line and movement studies where the context has been reduced so the power lines appear to run across the frame as if being drawn in the sky. This reduced approach also relates to my interest in structural films of the 1960s.
Drawing a Line, Study #2, 2010
(installation image and video stills)
Video runtime 8 minutes, seamless loop
Drawing a Line, Study #1, 2010 (video stills)
Video runtime 14 minutes, seamless loop
Drawing a Line, Study #1, 2010 (short clip)
Video runtime 14 minutes, seamless loop
Short clip also available here:
http://youtu.be/zzn87fj6Wek?t=3m30s
His and Hers, 2010
Video runtime 13 minutes 38 seconds, seamless loop
Reminiscent of early flicker films, this video was shot using two iPhones simultaneously.
(installed)
(stills)
Inscription, 2011
Collaborative installation with artist Herb Vincent Peterson
Installation media: 100-year old building, two tons of brick hand-stacked to form two parallel 9 by 9 foot walls, 162 square feet of paper suspended by wires, 162 serving bowls, mustard seeds, unidentified seeds, dirt, compost soil, water, 3 grow lights, spotlights on a timed-lighting sequence, and a continuously looped audio composition.
Installation details: 9-foot tall brick and paper walls constructed to form a space within the gallery, three grow lights, water (partially evaporated), dirt, and mustard seeds in bowls covering the entire floor of the space.
Abu Simbel, 2009
Set of six unframed 17-inch by 22-inch digital prints nailed directly onto the wall in a horizontal line
SHIP: 2010
Collaborative installation with artists Aimee Sones, Ryan Agnew, and Herb Vincent Peterson
We carefully and intricately wrapped every surface of the gallery space with cardboard. This wrapping included shelves, steps, a desk, walls, floors, beams and doorways. The only items not covered with cardboard were the lights, a floor-to-ceiling mirror, and the large windows that ran the length of the front of the building; those items were wrapped with bubble wrap.
