January 2014. 26x7x6", Paper, acrylic, pen and ink
February 2014. 6.5x9x3.5", Home-made paper, acrylic, pen and ink
February 2014. 22x9.5x3.5", Paper, acrylic, pen and ink
Black Ice, detail
December 2013. 19x26x6", Home-made paper, acrylic, pen and ink
Blue Nights, Side
Blue Nights, detail
12.5x6.5x5", paper, acrylic, pen and ink, with a resin coating.
portfolio no. 4
This portfolio is comprised of paintings from 2012-2014.
I'm very interested in the twin notions of place and landscape, in particular how these ideas are rooted not only in the physical, but also in the less accessible recesses of memory. All my work begins with a place. I work from photographs that I shoot while on long walks through an intriguing area, thus building up a relationship and cache of memories that I can intuitively pull upon when making the art-works. My images are never physically accurate representations of a particular landscape; rather, they try to capture the fleeting cultural and personal memories and definitions of that place. They try to root themselves in the energy of a particular landscape.
Handmade paper, acrylic paint.
October 2013 (reworked from an earlier version)
Times Square, detail
Untitled (New York City)
Handmade paper, acrylic paint
Homemade paper with cotton paper pulp, acrylic, oil, sharpie, pen, india ink
A Series of Predictions II
A Series of Predictions II
Homemade paper with cotton paper pulp dyed with black pigments, linen pulp paint, varnish, acrylic, pencil, pen, sharpie, India ink.
60 x 48 1/2"
Homemade paper with cotton paper pulp, acrylic, oil, sharpie, pen, india ink, pencil, pastel
'Tower' is a mixture of historic and contemporary sources; in it, I was reflecting on current cultural and political anxiety and looking back through history to pull from image sources that reflected a conversant cultural tone, then combining them with contemporary images.
portfolio no. 3
This portfolio is comprised of paintings from 2010-2012.
The following is an excerpt from my written thesis at SVA in 2011. You can read it in its entirety here.:
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.
In Camera Lucida, Roland Barthes offers a eulogy to his mother while simultaneously exploring the nature of photographs. He explores his memories of her through photographs, commenting that some photographs could be examined objectively while others contained a jolting essence distinctly her own. He coins three terms to deal with this chasm. ‘Studium’ is used to describe an image whose meaning can be summed up in a glance. By contrast, ‘punctum’ describes a moment, or detail, that can recall a vivid experience not easily defined in words. It is what the photograph is about beyond the ostensible subject. For Barthes, this represented something quite personal, and not necessarily accessible by the audience at large. And, finally, ‘noema’ refers to the roles of emotion and subjectivity in the experience of looking at photography.
If we broaden these terms a bit, we have a working vocabulary for discussing contemporary landscapes. The terms need to be able to refer to all artworks, and the ‘punctum’ and ‘noema’ need to be seen not as a personal but as a collective experience. The noema can embody a collective energy, and the punctum can deal with moments of perception, exploring visual signifiers and how they feed into a collective identity; a mark can embody the essence of a subject without ever describing the subject specifically. For example, a tree can be more ‘tree- like’ in a few expressive strokes than it ever can through careful rendering. How we identify the tree within the strokes and, further, attach a mood or experience to this collection of marks defines current culture.
Watercolor, egg tempera, india ink, pencil, and pen on paper.
Iowa II, detail
Watercolor, india ink, pencil, and pen on paper.
Iowa 1, Detail
Act of God
Landscape III (Acts of God)
Watercolor, india ink, and pencil on paper
Act of God, detail
Act of God, detail
Homemade paper with found paper fiber, pulped and dyed; acrylic, varnish, pen
"Climate is what you expect; weather is what you get." -Mark Twain
portfolio no. 2
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
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.