My bodies of work are comprised of a series of self or externally-devised, routinely practiced free-associative action mark-making strategies. Each time-based procedure explores various degrees of chance operations and seeks to explore intuition, intention, interpretation, contingency and human participation. A hybrid of fixed method with variables of the unknown explores and investigates performative mark-making methodologies, in-person and internet collaboration, control and working under pre-fixed intervals. Alongside chance, time-based procedures are concurrently determined to achieve work on paper whose marks are not initially foreseen. These systems and corresponding end products emphasize the passage of time. This practice of working accentuates the disconnect between the maker engaged in an active practice of doing versus the relative stagnancy of the resulting end product.
This work pursues a deceptively simple problem posed as a fundamental question: what is relevant portion of the work? The realized end product or the formulas which created them? The work attempts to unite partially choreographed actions of activity with conventional modes of art production.
Heavily influenced by the scientific method, art-by-instruction and process art, the work aims to capture the conflicting elements of predetermined activity and variables of free-associative mark-making.
The chance operations in the work consist of, but are not limited to: the rolling of dice, the blind spinning of dials, weather, the selection from a deck of cards, and solicited participation of people from social media.
Through drawing, printmaking and mixed media, the works possess a strong reference to their materiality and the passage of time as seen through change, evolution or degradation.
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