‘The coils of a serpent are even more complex than the burrows of a molehill’

-Gilles Deleuze (from ‘Postscript on the Societies of Control’)

My work, while visually eclectic and conceptually discursive, is always a loose but stringent quest for a democratic form in the visual arts. Through processes of deconstructing cultural signifiers (logos, grocery bags), linguistic games, and appropriations of sub cultural identity I produce objects, images, and performances that work to synthesize the surrounding visual and cultural landscape into egalitarian structures.

Often beginning in drawing or writing and progressing towards concrete sculptural forms and performances, my work engages modes of production that generate immediate results. For this reason, my installations and sets for performances are constructed from visually disparate cast off materials which are combined and organized, with very little manipulation, to amass an end product which, in the case of my performances, offers a visual experience that is analogous to the plurality of the landscape that informs them as well as the lecture that occurs within them. The verbal content of my performances descends from an eclectic set of interests that encompasses, but is not limited to, art, art history, popular culture, and critical theory. These topics are combined and layered in a stream of consciousness manner to form strains of speech that vacillate between conjectural concepts, established theories, and social and cultural touchstones (film, television, books, etc.), often taking pieces and ideas from one field and attaching them to another. The performance’s end is entirely contingent on the artist’s decision. A time limit is never fixed so as to avoid a static privileging of linear time.

My studio practice includes drawing and writing as large and productive components. My drawings are generally small-format, singular exercises employing linguistic games (deconstructed words, sentences), realistic representations of banal objects, still lifes (receipts, black shoelaces with small, inconsequential notes), and sub culture signifiers (Slayer pins, notes containing oppositional hip-hop lyrics). Much of my work is also contingent on a strong practice of writing that is composed in essay format and compiled into packets that are selectively dispersed under the name ‘Critistructuralities’. These writings are the textual framework for my installations and performances. The included essays synthesize and combine topics that are disparate at the outset but reveal a linkage when probed and manipulated (the teen cult drama ‘Garden State’ and classic existential philosophy). The resulting digital text files are then compiled, printed out into six to ten page packets, and distributed upon viewer request.