Foundations, 2014
LightJet Ilfochrome on Dibond, artist’s frame
36 × 67.5 × 4 in (91.4 × 171.5 × 10.2 cm)
Edition of 3 + 2 AP
Edition fully placed
Foundations, 2014, is a doubled photocollage of gesturally composed photographs, arranged as bricks so as to form stable structures, or foundations. Placing the camera sensor in the role of canvas, the work investigates gesture, aura, texture, facture, and the hand of the artist in drawing and painting as applied to photography, as both the camera and paintings are in motion and reacting with one another during capture. Each photograph is filled with color, light, motion and texture, a meeting of mediums with a long history of complex and at times contentious dialogue. The Lightjet Ilfochrome format has been permanently discontinued. This work is irreproducible in this format.
Turboparalysis, 2014
Wall sculpture
Laminated handmade Ilfochrome print in welded aluminum frame (collaged from multiple 120 film exposures, transferred to 8×10 film)
51 × 51 × 2 in (129.5 × 129.5 × 5.1 cm)
Edition of 3 + 1 AP
Turboparalysis, 2014, is part of an ongoing investigation into lens-based media functioning in non-depictive, automatistic states. A single roll of 120 film captures the azure sky over Lower Manhattan—shot, rewound, and re-exposed to inscribe gestural marks onto each frame. The resulting images are scanned and subjected to iterative transformations—doubling, tripling, rotating, and inverting—until a latticework diamond composition materializes. This structure, balanced precariously on one of its corners, is then transferred to 8×10 film and printed by hand as a unique Ilfochrome, suspended between analog and digital realms. No two prints are identical.
Indexularity, 2014
Digital photocollage (JPEG, 7955 × 16,412 px)
NFT issued on Foundation
Unique
Placed in private collection; no longer available
Indexularity, 2014 is a large-scale visual chiasmus composed from dozens of photographs made using lasers, motion, and light. The resulting matrix—nearly 8000 by 16,000 pixels—unfolds as a recursive field of saturated color, abstract gesture and interference artifacts. Referencing both the photographic index and the singularity, the work suspends viewers in a space where meaning loops, fractures, and reassembles across a lattice of mirrored light events.
Geomorphology, 2014/2020
Chromogenic print (FujiFlex) mounted to Dibond (composed in-camera from multiple painted surfaces; no digital post-production)
50 × 70 in (127 × 177.8 cm)
Geomorphology, 2014/2020, presents a bird’s-eye view of a digitally mediated world, where the real and the virtual become increasingly difficult to separate. This new landscape is realized as a fantastical, topographical photocollage that ultimately resides as a photograph. Gestures are first made with oil and acrylic paint on wood panels. Through iterative photographic processes and chance, the composition emerges. The camera sensor and chip intervene as new agents of gesture, imprinting their inherent characteristics onto the image. Although photography traditionally offers a flat, smooth surface lacking the facture of painting, here, through experimentation and time, layers of paint and photography merge into a newly imagined terrain.
velocityofnature, 2009/2012/2016
Handmade Ilfochrome print (from original photographic collage transferred to 8×10 film)
47 × 72 in (119.4 × 182.9 cm)
Edition of 5 + 2 AP
A burst of bougainvillea, layered through time, becomes a still from the cosmos. Composed from images taken at the home of evolutionary biologist Robert Trivers and refined across seven years, velocityofnature envisions the Earth as in motion—hurtling through space. Like dipping a microscope slide into the river of time, the work captures not stillness, but a moment suspended at high speed. The final Ilfochrome print fuses natural beauty, perceptual velocity, and material precision into a single chromatic surface. The print was exposed by hand from an 8 x 10 transparency. No two prints are identical.