With a deep respect and curiosity for the unknown, I consider myself a conduit for ideas larger than that which my body contains. I am drawn to systems of information, connection and energy — both the transference of and the residue left behind — apparent in the world.
Certain forms manifested maintain my attention:
cosmic bodies, crystal growth cycles, bird migrations, non-verbal communication/information sharing between animals and plants, mycelium/hyphae highways bridging trees and mushrooms, imperceptible patterns of geologic and plant growth, caves, synaptic functions in the brain, visual diagrams of the internet, maps, aerial views of cities at night and Carl Jung’s Collective Unconscious.
By collapsing micro and macro systems into one scale through painted installations and absorptive experiences, there exist liminal spaces for us to inhabit that become impossible realities. Spaces that question synchronous visual structures paralleling the inner workings of the mind expanding into the universe around us, searching for moments when the universe echoes back.
With my installation titled the unknowable unknown, flat painted surfaces and three-dimensional organisms comprised of paper-maché coalesce to challenge conceptions of space and perception within a fictitious portal to another realm. Each material apparent within this alternate dimension is studied closely for their self-organization and act as vibrant agents to collaborate with. Gelatin retains its sense of translucency while hardening into amorphous windows. Viscous pigment combined with glue, cornstarch and water oozes slowly downwards, towards the pull of gravity, inevitably hardening into a paint skin. Spray foam peppers the membranes of the organisms, becoming a magma-like blister invoking a slow, gradual movement. Wheat paste lichen and leather crystals populate the textural encrustations littering the various beings, leading the eye and body along rapidly. Paper clay comprised of collected mushrooms and various joint compounds, appear to spread across the surface, mirroring a time when it was growing along the bark of a fallen tree. Blue cobalt LEDs create a spectral glow emanating from inside the artificial-biological specimens; referring themselves to the germanic root of kobold, meaning spirit or ghost. The lights, activated by the infrared presence of the viewer, act as unnatural guides that are simultaneously trusted and untrustworthy. Various reflective and phosphorescent pigments appear wet, slimy and bioluminescent; reflecting back the objects, the space and any beings traveling together.
There lie in waiting, actors that remain unseen within this space: gravity, time, experience and shadows. Each a supportive character at the edges of vision: leading the paint, hardening the exterior, clinging onto the viewer as they exit the space and slowly creeping underfoot.
If you slow for a moment, you just might see them, might become aware to their presence.
There is a deeper connection we can forge to the world around us, by looking inward and outward simultaneously at the systems that resonate alongside one another. My goal is not to explain, but rather to question and wonder at the complexity of this existence. Doubt serves as a satirical, ironic and playful device meant to spurn curiosity, wonder and self reflection in each visitor. Similar to an after image/feeling that lingers long past an experience; the role of artist is one of ghost in the walls calling to you in the dark.
Follow me, we will travel together … but remember you are ultimately alone in this space.