…..space, in the end, will not lie flat and form a passive surface for our narcissism, our self-projections, the realizations of our grand and aggrandizing narrative…… International Necronautical Society Propaganda//2009
My composition is inspired by conflict and metamorphosis between culture and nature, encapsulating the corruption of American ideals and historical myths, creating an ethos embodied by the transformative effects of impermanence. My compositions embody a moment, and place, of intense energetic alteration. I juxtapose past and current socio-critical strata by fabricating images that pertain to the high flux of current consumer media that inundates the American consciousness.
Using dibon, glass, fujiflex, lead, gun powder and video, each of my pieces can be seen as an act of treason against the idyllic philosophy contained in the traditional transcendent conceptions of art. I am a anthropologist focusing on the present human condition of passing off the mundane as the insane, and the insane as the mundane. Although I am influenced by the Orwellian construction of a post 9-11 society that bleeds technology, materialism and general world anxiety, my work is not topical in nature, but can be seen as a form of narrative, a visual, social and historical conversation about the truly personal internal struggle of the self, and its power in a world capable of being manipulated.
This particular narrative is manifested through a meticulously multi-processed photograph, printed on fujiflex and mounted on dibon, with outrégeous colors and a delicate surface and smooth tactility displaying an uncontroverted decadence in its material, but after I blast through the surface with a 12 gauge shell, fired from a found shotgun, the piece drags the viewer into a specific moment in time, this is not to be meant as a destructive process but rather a controlled act of creation, one that allows the viewer to witness the effects of the dichotomy that can be found in a single moment.
The surface and the blasted void (the exposed ‘behind’ of the surface is painted and covered in highly reflective dust) behind the piece, become points of the pictorial landscape while the shredded metal and the space and surface ‘behind’ the surface are transformed into a sculptural substance. In exploring the space behind the surface, I free myself from the limitations of 2 and 3 dimensional space and prophetically takes us into the collective narcissistic retro-reflective eternal space that hides in the recesses of our minds.