I infuse pharmaceuticals, advertisements, and other consumables into traditional media (paint, metal, found objects, and digital video) to produce paintings, sculptures, videos, and drawings. These tactics -- sometimes subtle, sometimes violent -- explore the often-invisible economic, chemical, and psychological processes that assault our bodies.
The surface of my paintings is analogous to the human body as a site for chemical absorption. I begin by combining various chemicals (such as Prozac, Viagra, corn oil, Red Bull energy drinks, "bath salts") with paints in the bold color palettes of corporate logos. Through a frottage-like process, these elements are pressed and rubbed into the canvas to produce stained, blurry, and colorful abstractions. I employ this method on a smaller scale and greater volume with magazine pages, adding a direct, photographic link to the cultural origins of the chemicals' molecular materiality. My use of color, material, and shape references the historical connections between the methods of production of pharmaceuticals and pigments.
Sculptures operate as abstract, biomorphic forms consisting of found objects, metal, stone, stacks of books, magazine pages, and shredded and reconfigured OSB plywood. Some of these pieces use a singular material to produce a rather minimal structure, and others are gluts of found objects which use a developed lexicon of contemporary devices, including earplugs, umbrellas, anti-fatigue mats, and hand sanitizer dispensers.
Videos include a similar mix of original and found footage of nature, technology, and the human body. Bodies of work such as the "No Definition Video" series question the fetishism of high definition technology by mixing high and low resolution videos, and infusing the image with poetic texts created from trademarked phrases. The end result is films that are haunting and filled with pathos.
My process of making involves a manic overproduction with a diverse range of materials and then significant editing and removal. Objects are often installed in arrangements that draw attention to the architecture of the space, implicate the body of the viewer, and create connections between the initially disparate materials and images.
In his recent polemic 24/7, Jonathan Crary writes: "Now our bodies and identities assimilate an ever-expanding surfeit of services, images, procedures, chemicals, to a toxic and often fatal threshold." I use working in the studio as a form of modest resistance, a counter-production of images and objects that make visible the consequences of stepping over this threshold.