My work is a form of Archeology. It’s about the decomposition of industrial materials, the scars and cracks in surfaces and the way in which synthetic objects like polyester clothes, cardboard and concrete find their way back into earth. If we accept the notion that all matter is to some degree “alive”, then I document what life is like for things we fabricate and leave on the ground, for pavement and plastic scattered all over the landscape. Beneath the politics of materialism, what sort of tectonic dialog is happening between these strange, machine-made things and the soil they return to? Are there other narratives embossed in the ground that I can decipher?
Coordinate Paintings document various “outcroppings” of discarded man-made things lying on the ground, scenes that can be found almost anywhere on earth, but most often get overlooked, ignored or edited out of the landscape. The painting is titled with the exact geo-coordinates where the original photo was made and is searchable on any mapping software to great accuracy. I take a photo of the ground looking straight down. The photo is color separated, burned onto silkscreens, then screen printed by hand with many layers of acrylic and metallic paint. This intensive process reconstitutes a kind of abstracted ghost of the image. Occasionally small editions can be made but generally each painting is unique.
Transfer Drawings (Contested Ground)
Paper and graphite are all that are used for these works. Paper is laid down and an embossed rubbing is made of the pavement with graphite. The title for each piece is the location where the work was made. The locations themselves vary widely from the sites of LA riot fires to the parking lot at a health clinic considered the birthplace of the sex change operation. These drawings give a way to interface with alternate historical narratives that aren’t marked with plaques or monuments.