Towards Town, July 2014. Aprox. 21.75x11.5", photo transfer, acrylic, pen and ink
Kings County (IV)
February 2015. Aprox. 16.5x10.5", photo transfer, acrylic, pen and ink, encaustic.
Kings County (I)
February 2015. Aprox. 14x14", photo transfer, acrylic, pen and ink, encaustic.
Kings County (III)
February 2015. Aprox. 11.5x12", photo transfer, acrylic, pen and ink, encaustic.
Kings County (II)
February 2015. Aprox. 15.5 x 18.5", photo transfer, acrylic, pen and ink, encaustic.
Winter Light I
12x15", better image scan coming soon
Winter Light II
12x9", better image scan coming soon
These works are from a month-long residency in Oracle, Arizona at Rancho Linda Vista in the summer of 2014. Here, my works again became flat. They continued to use the same mixed media process that I was exploring in my paper sculptures; photo transfers painted over, layered, and altered..
July 2014. Aprox. 25x14", photo transfer, acrylic, pen and ink
July 2014. Aprox. 14x13", photo transfer, acrylic, pen and ink
July 2014. Aprox. 6.5x10.25", photo transfer, acrylic, pen and ink
July 2014. Aprox.26x15.5", photo transfer, acrylic, pen and ink
July 2014. Aprox. 1215", photo transfer, acrylic, pen and ink
July 2014. Aprox. 12x22.5", photo transfer, acrylic, pen and ink
July 2014. Aprox. 9.25x13", photo transfer, acrylic, pen and ink
On the Ranch
July 2014. Aprox. 11x9.5", photo transfer, acrylic, pen and ink
July 2014. Aprox. 21.75x11.5", photo transfer, acrylic, pen and ink
These photographs are from various series done from 2007-2010.
They are heavily manipulated; photographed during the day and manipulated in Photoshop, pulling heavily on outside media for the people and skies. They were shot in Portland, Or or Ann Arbor, MI.
At the Window
At the Window, detail
A Walk, detail
Evening Ride, detail
Summer Evening, detail
Pre-2007: Photography no.1
This collection is from a series called 'Osmosis' and is comprised of manipulated photographs from 2007.
My love of photography began by manipulating negatives with my father's old darkroom equipment, cramped into my family's small downstairs bathroom. In college, I began taking photos at night; loving how the shadows played a sort of hide-and-seek with details. My earlier images , were done with medium format film, with real (large and heavy) lights laboriously set up to capture movement and detail. But, I went to school right when analog was switching over to digital, so by the end of of my studies, I was happily shooting digitally and manipulating them quite heavily in Photoshop.
From Osmosis onwards, my 'negatives' were shot during the day, imported to Photoshop, and reduced down to a near black. I would then 'paint' the light back into them, and finally collage in elements such as sky and people. Osmosis was shot around Portland, Oregon and comprised my undergraduate thesis.
Art shows us ourselves outside of language. It taps into a collective store of beliefs, politics, and myths to offer a familiar yet bewildering blend of contemporary society. Each generation has its own cache of landscape art, and these landscapes carry the myths of the day, shifting meaning and emphasis with the passing generations. In the case of contemporary landscapes, we can access the collective and glimpse the current human condition. Landscape art presents its audience with the tensions and strains of contemporary culture. This is not necessarily isolated to one specific cultural problem. Rather, it is the reverberations of many problems re-presented as a singular piece. To quote Heidegger's essay, 'World of a Work’:
"To be a work means to set up a world. But what is it to be a world?....The world is not the mere collection of the countable or uncountable, familiar and unfamiliar things that are just there. But neither is it a merely imagined framework added by our representation to the sum of such given things. The world worlds, and is more fully in being than the tangible and perceptible realm in which we believe ourself to be at home. World is never an object that stands before us and can be seen. World is the ever-nonobjective to which we are subject as long as the path of birth and death, blessing and curse keep us transported into Being. Wherever those decisions of our history that relate to our very being are made, are taken up and abandoned by us, go unrecognized and are rediscovered by new inquiry, there the world worlds."
I have always been interested in landscape, time, and memory, and how these three things inform a place as well as our perception of place. Before beginning an art series I walk and I take photos—hundreds of photos—building up a physical relationship with the space as well as storing moments to intuitively draw on when making my work. The photos are printed and collaged together, often creating new spaces that do not exist in reality but hold the essence of the landscape I’ve been exploring. The collages are transferred onto paper using acrylic transfer, which can be a satisfyingly unpredictable and organic transfer process. The photos are then built upon using paint and pen and, recently, encaustic, until the photos and the painting are indistinguishable as separate entities.