Parsons School of Design, Post Graduate Studies
In veiled and covert ways my photo art explores our buying habits and how we are led by a culture of artful sellers. My stories are about our conflicts and dualities illuminated by the objects we nimbly consume. I invite my audience to meander through my decorative tableaus to rediscover the underbelly of our humanity--to better understand who we are, who we've been, and who we are becoming.
I've always been interested in our willingness to be sold, but our options have multiplied and it's wearing us out. More than anything else this is why enduring loyalties are formed. Once we believe that our values and choices align, we're happy to choose what has earned our trust.
But what happens when our choices and values conflict? How often are we attracted to something we also find unsettling? Do we buy it anyway, soothing our emptiness? Or do we leave it behind and walk away?
My photo-composite process is a continuation of the tradition that began with collage. Where once artists gathered all their materials from disparate sources and were limited by availability and physicality, 21st century technology has lifted these restraints. By sourcing, scanning and photographing images I’m able to find or produce just the right ones to place next to each other, as juxtaposition forms the foundation of my process. By using software tools I color shift, erase backgrounds and compose (sometimes placing thousands of elements in one piece) as my vision is far too detailed for traditional collage methods.
My artistic goal is to lure my audience with intricate appeal and then upon closer inspection, to assault with disquieting content. I often explore and critique the conditions, circumstances, and relations in which the various issues of social and economic justice, environmental protection, technology, race, gender, and human rights manifest. My artistic practice examines how we might learn to navigate our discomforts and disillusionment as a way to understanding and perhaps transcending our hypocrisies and our blindness.
Using LightJet imaging technology harnesses my themes of illumination within a printing process. Three digitally controlled lasers simultaneously expose the photo-sensitive emulsion onto silver halide photo paper with red, green and blue laser lights. The way LightJet prints images is the way we see the world, in RGB and not CMYK. The exposed paper is then processed in traditional photographic chemistry which creates such a strong durable surface that framing without glass is feasible.
I’ve been printing on Endura Metallic paper, my 21st century nod to medieval gilding and the grace of heavenly wisdom. I find its iridescent finish and rich metallic appearance catches the eye and gives depth to my themes of illumination and human self-reflection.