Artist Statement

My current practice is grounded in tenets of Supermodernism: specifically, ideas of "non-place." My source material comes from digital drawings of theoretical architecture: 3D chatroom renderings, video game environments, and physical "non-places" such as airports and train stations. Rather than looking at "non-places" as transitory spaces lacking content or meaning, I regard them as loci of infinite possibility.

Through the digitization process, I detach these source drawings from a fixed state and focus on their mutability and evolution. I consider these drawings to be a language in and of themselves, a foundational element used universally throughout my work, and I exploit the flexibility of their original vector format to make them function at extreme scales and in multiple media. The installations perform at the largest scale; assembled modularly in situ, they respond to the architectural environment in which they exist, activating the space in a way that negates the "non-place-ness" of the museum's white walls, even if only for the length of the exhibition. The animations, in their constant state of flux, reference the transitory nature of the original sources, and operate on the viewer in a decidedly different manner, as they become worlds unto themselves, pulling the viewer out of the moment, for a moment.

Throughout my work is a sense of fracturing, motion, and reformation in the way the installations are layered and painted, as well as in the controlled chaos of the animation. This cycle also occurs in the studio, as I remix iterations of form as each piece is constructed. Thus, these works that began as a cataloging of non-place are imparted meaning through the rhythmic (re)inscription of their own history. For all aspects of the work, whether physical or virtual, there is a sense of responsiveness, of negotiation, of push-and-pull. I intend for these works to have both a machine and human aesthetic, becoming a cyborg creation of sorts that is not just a formal exploration of spatial concepts, but the organic progeny of them – an evolution of form, responding to the computer, myself, and its surroundings.