Among wealthy, developed democracies, the United States suffers severe income inequality. As an American artist, I feel increasingly sensitive about my relationship to capitalism, especially around my consumer choices. I also noticed how I assessed my own studio habits by "production," "output," "efficiency," "performance," "valuable," and "investment" - the vocabulary of capitalism.
To begin, I focused on the three magazines with the wealthiest readership: The Economist, The New Yorker, and The Atlantic. I combed their advertisements, observing language, design, and patterns, until I detected "vulnerabilities" in some images, where an intervention seemed possible. I also recognized "aggressive" images, ready to intervene on another image. Using cut-and-paste methods, I began making collages.
When combining images, I preserve the advertising context. The surrounding imagery and text stay in the picture, even if they seem like so-called "background" to the target image. Thus, the collage elements are minimally edited.
A book sequencing HELLO TODAY images was funded on Kickstarter in April 2015.
Austerity Measures (2012)
Austerity Measures is a series of cubic matrices drafted onto translucent layers to generate complex forms, optical depth, and an indelible record of procedure and decisions. (Drawing is thinking.) The images maintain sculptural integrity and function as plausible models, implying gravity, voids, and stress. (Drawing is building.) Each image requires drawing a "perfect cube" in perspective, and this learned skill, repeated, becomes a drill. (Drawing is action.)
Mostly stripped of human figures, the drawings may still evoke the body. Tensile armatures appear skeletal; precise excisions seem surgical; aspects of the structures are "faces." And a viewer’s gaze populates the drawings, as the navigable systems appeal to the rational brain.
The drawings are models of model thinking: demonstrative, credible, and multi-coordinate - resistant to guesswork, obfuscating, and presumptions. For the thinking individual, shaping thoughts might be the best response to a problem. After all, part of the problem might be the way one thinks.
Austerity Measures was exhibited at Invisible-Exports in May 2012.
A Chance to Cut (2012)
A Chance to Cure (2012)
Type A (2012)
Pipe Dream (2012)
Strategic Ambiguity (2012)
Containment Blues (2012)
Eat Thy Neighbor (2012)
Painful Reforms (2012)
Enduring Presence (2012)
Functional Contiguity (2012)
Internal Look (2012)
Metal on Metal (2012)
Select Drawings 2008-2012
These drawings were primarily created for private commissions and group shows, such as History Keeps Me Awake at Night: A Genealogy of David Wojnarowicz at P.P.O.W. Gallery. Materials include ink, colored lead, and acrylic drafted or painted onto layered, translucent drafting film. Many began as collages composed from photocopies of individual figures, while others dispense with the figures to interrogate the grid as it gradually takes over pictorial space.
Trap (detail) (2009)
The Crystal Ark (2011)
The Crystal Ark (detail) (2011)
Positive ID (2011)
Positive ID (detail) (2011)
Angels vs. Aliens (2011)
Blush Response (2011)
Seven Veils (2011)
Am Spinnrade (2011)
Vapor Trail (2010)
Come in Alone (2008)
Slippery When Wet (2008)
The Ideal Copy (2008)
The Only Way Out is Through (2009)
The Only Way Out is Through is a group of drawings that combine grid-based composition, interior architecture, and sexualized figuration. The infinite, but regular, repetition of the grid mimics the transcendent, yet banal, qualities of sex. The institutional spaces include gyms, restrooms, fitting rooms, which all are compartmentalized spaces that people visit for presumed self-improvement, such as fitness, hygiene, and fashion.
The Only Way Out is Through was presented as a solo exhibition at Invisible-Exports in May 2009.
Leaning on a Ghost (2009)
Leaning on a Ghost (detail) (2009)
Rectilinear Rectitude (2009)
Rectilinear Rectitude (detail) (2009)
The Stranger (2009)
The Stranger (detail) (2009)
Binary #3: Interstate (2009)
Binary #2: Immodest Proposal (2009)
These drawings, mostly ink on paper, were completed during the Workspace Residency at Lower Manhattan Cultural Council and exhibited throughout 2007-2008. "The Eternally Obvious," a 20-foot-wide mural, anchored a solo exhibition at Salomon Projects, East Hampton, NY, in summer 2008.
Bedroom Suite #1 (2007)
Bedroom Suite #2 (2007)
Bedroom Suite #3 (2007)
Bedroom Suite #4 (2007)
Bedroom Suite #2 (study) (2007-11)
Hail Caesarean (2008)
The Eternally Obvious (mural) (2007)
The Eternally Obvious (drawing) (2007)
Heart of Glass (2007)
Leap of Faith (2007)
Failure to Levitate (2007)
Inverted Figure (2006)
Let Your Body Learn (2007)
This 16-foot-wide, site-specific wall drawing from 2007-2008 exists in the SoHo loft of Patrick Callery. The wall includes a hinged room divider panel, which becomes a mechanism for animating the image. See it in action here.