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 and climate, 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?
Each of these paintings is titled with the exact coordinates where the original photograph was made. The photograph is then color separated and each layer is screen printed onto a wood panel with acrylic and metallic paint to reconstitute the image. Occasionally editions are made but for the most part each painting is unique. The coordinates can be plugged into any mapping website to find the original site. Each site is a kind of “outcropping” of discarded man-made things, a scene that can be found almost anywhere on earth, but most often overlooked, ignored or edited out of the landscape.
Transfer Drawings (Contested Ground)
Paper and graphite are all that is 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 eroded parking spaces 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.