My practice uses the material aspects of photography as a departure point for a wide-ranging practice that assimilates painting, drawing and sculpture. Light sensitive processes and surfaces are dramatized as a technical support and diverted away from the indexical toward formal propositions that converse across media and disciplines. These propositions mainly deal with various thresholds of visual information, the fundamental structures of perception and how these can be resolved into physical objects.
In the last few years, the practice has seen a gradual shift from using the photographic print as a site for material interventions and mark-making activities toward broader concerns with surface registration and what can be called ‘demarcation’ – the line as an architectonic compositional device as well as a boundary of material identity and between 2D and 3D space.
Fusing the handmade, the industrial, the elemental, the architectural and the archaeological, my practice explores how such formal strategies generate affect – or an illusion thereof – and taps into photography's ambivalent relationship with the modernist canon. My work aligns with the concept of “contemporary ruin gaze” posited by Svetlana Boym, which is a gaze "reconciled to perspectivism, to conjectural history and spatial discontinuity [and that] requires an acceptance of disharmony, of the contrapunctual relationship of human, historical and natural temporality.”*
*[Svetlana Boym, 'Ruins of the Twentieth Century', in 'Frieze Projects and Frieze Talks 2006-2008']
In the last few years, the practice has seen a gradual shift from using the photographic print as a site for material interventions and mark-making activities toward broader concerns with surface registration and what can be called ‘demarcation’ – the line as an architectonic compositional device as well as a boundary of material identity and between 2D and 3D space.
Fusing the handmade, the industrial, the elemental, the architectural and the archaeological, my practice explores how such formal strategies generate affect – or an illusion thereof – and taps into photography's ambivalent relationship with the modernist canon. My work aligns with the concept of “contemporary ruin gaze” posited by Svetlana Boym, which is a gaze "reconciled to perspectivism, to conjectural history and spatial discontinuity [and that] requires an acceptance of disharmony, of the contrapunctual relationship of human, historical and natural temporality.”*
*[Svetlana Boym, 'Ruins of the Twentieth Century', in 'Frieze Projects and Frieze Talks 2006-2008']