Through a practice of writing and drawing, videography, and curation, my work attempts to remain at the thresholds of sleeping, waking, and dreams, keeping to a skin-depth vulnerability of touch and endless sifting – which cannot help but to disturb a neutral, distant character of observation.
Rather, a kind of messiness and fragmentation cannot be avoided from the outset of this tactile and translational approach, to the infinite process of coming to terms.
The desire for purity has a dangerous and misleading hold on our awareness and behavior, and science itself, a particularly influential model of exactness (or rigour) often loses touch with its own recognition of this problem; namely, the very act of looking significantly affects that which is to be found.
Language also reminds of this predicament, through the word “intact,” for example, which, while meaning ‘to be whole,” means as well, quite literally, “untouched.”
Whatever the medium of my work, then, it flows from a seeking to welcome more fully this strange and maculate vision.
The element of surprise and the patience of waiting are crucial to these basic efforts.
In the drawings, for example, which take place over many sessions, and at times, many years, I script elaborate equations, resembling math, including numbers and other signs, which become overtaken and obscured by line drawing, bringing attention to the very act of interpreting, and an associated musical quality.
There is something necessarily allusive at the heart of these projects, like a puzzle being pieced together in the absence of an image that would otherwise precede, constrain and guide, towards a knowable completion from the outset.
Along these lines, it is worth mentioning that portability plays an important role in my work, not only in terms of being able to travel easily and at a moments notice, in order to maintain a practice, but also in order to do this work in public spaces, without drawing much attention, since it helps to be moved by the varying energies, pulling, simultaneously, in all directions, while nonetheless contained by the way “things” adhere through each particular occasion of sharing a room.
The scale of this work (except for the new series of 32” by 40” drawings) is small; and, perhaps, the infinite is more capable of being held in small spaces, shared … as invitations, to recall and cultivate a fuller range of seeing, including doubt, reversal, and absurdity.
The interpretations conjured thereby are not unlike parentheses, or cupped hands, trying to contain a thought which overflows them.
In a sense, the outset is exile, and this work but its slow preparation; a slow preparation of exile, leaning towards dust and a blindness of wisdom; simple things, like playing catch; and a blur for the sake of clarity