Red Camera, 2012-2022
Quadriptych (4 photographs)
42h x 28w in. ea. (106.68h x 71.12w cm)
Ed: 4 + AP
Signed en verso
Brush and Sky Cluster, 2014/2022
27h x 40w in. (68.58h x 101.6w cm)
Ed: 5 + 2AP
Signed en verso
Install shot from Interlocutor, a 2 person show, curated by Clifford Owens, at Art Club, NY
Star Cluster, 2021
Chromogenic print on fuji crystal archive
(In artist framing)
Ed: 5 + AP
Montage, 2021 (Image Right: Art Basel, 2022, Untitled Art, Miami, Fl.)
Volumetric luminograms with custom stainless hardware
Weight: 105 lbs total (35lbs /ea)
Ultraviolet ink on cast plexiglass
28h x 18.6w x 1.5d in. (42.2h x 71.1w x 3.8d cm) each
ED: 2 + 2AP
- Exhibited at Art Basel | Miami 2022
- AP2 exhibited in "The Patriot" at O’flahertys, New York
Montage, 2021 contemplates the increasing dematerialization and entropy of images and imagemaking. In an updated approach to the tradition of mark-making, fragmented blue and magenta forms are the result of movements in space with red, green and blue light sources, around an exposed camera sensor, from varying distances and positions.
The forms are the self-reflexive shadow contours of the insides and outsides of the camera body cast onto the sensor. The magenta is the result of the blue and red light mixing. Red, green and blue light was chosen due to being the building blocks of the additive color system of light.
The objects’ dimensions are that of standard digital photographs. They are rotated into portrait position in order for the viewer to more easily internalize them as objects as opposed to images. The thickness of the substrate was chosen to enhance each site‘s interaction with the work. The objects’ distances from the wall behind them determine the color saturation by affecting their opacity.
Tangentially the act of creating this work work was inspired by the infamous Double Slit Experiment, the basis for our current understanding of quantum physics. In this experiment, scientists directed light sources at surfaces with two thin, parallel vertical openings, in order to observe whether the resulting patterns on the wall behind the openings were scattered in the way of interfering waves, or individually landing photons. The primary purpose of this was, of course, to attempt to pin down light’s essence as either particle or wave. This led to the legendary, startling discovery that light is both, which changed everything.
Lastly, there is a multi-generational heritage in the world of real estate and construction to contend with, which is certainly evident in the objecthood of this lens-based work. Rotated back into landscape orientation, and arranged vertically, they can be seen as bricks. In portrait orientation: windows. Without space between them: a wall.
Memories of the Future, 2014/2020
48h x 36.5w in (121.9h x 92.7w cm)
Ed: 3 + AP
Memories of the Future, 2014/2020 is a single exposed roll of medium format film presented as object, re-envisioning the essential elements of time-based and still imagemaking, frames of film, as essential elements of building and construction, bricks. Presented as a vertical or horizontal structure, this single roll of transparency film, converted into a wall sculpture, is filled solely with light and color from the sky, uniting ephemerality with permanence.
The blue square, a recurring motif in my work, is employed as a symbol of indexicality, the basis of photography’s truth claim. Image, meaning and the photograph have never been stranger bedfellows. Construction of meaning and the excavation of truth in our increasingly image-based lives is the challenge of our time.
• Museum of Contemporary Art Detroit’s (MOCAD) Rapid Response Group Show, March, 2020
Curator: Wayne Northcross
• Art Basel / Miami Art Week 2021, SATELLITE 2D (presented by Maverick Expo)
Curator: Brian Andrew Whiteley