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The way light and sound change continuously, the way air shifts and feels in certain moments, and even the way sensations are influenced from beyond what’s tangible are just a few of the many elements that comprise an entire sense of being—one that we may often ignore. My work seeks to reinvigorate the familiar in order to ponder the sensible both visible and invisible at elusive points in space here and now. This space—a “conjugate space”-- is a kind of transitional space where the straight and the curved interchange. Transitional changes are observed experientially as a matter of shifting, spatio-temporal scales. This elusive space is where the “If it’s there, then I’m not there” and its reversal play out endlessly. As a function of process, we may not only see one becoming the other but we may begin to sense ourselves as interconnected and implicated in this perpetual and perceptual exchange.
Currently, my work investigates said observations through various media choices that explore sensitivities between light, time, and space. The fact that the works themselves—paintings, sculptures, and videos--don’t fit neatly into preconceived categories underscores the paradox. In fact, much of the documentation proves to be quite difficult because there are an infinite number of views dependent on relational movements of both subject (the viewer) and object (the art). I have attempted to give a few decent examples in each. The paintings reflect and absorb light in such as way as to complicate the spatial depth and location seen within the frame. Further considerations are dictated by the viewer’s position in relation to not only the specific object but also to adjacent/contingent objects within the same space. Thusly, the viewer is made aware of his/her own viewing and subsequent potential to complete the experience. The video work resides within a similar set of conditions but with the added component of time literalized. As time passes and light and sound changes--both as a given of the environment and of the constructed space--a slowness in seeing and subtlety in change is embraced. Sculptural works fall somewhere in between painting and video concerns for me with color and line directing the viewer’s eye/body while his/her own movements influence the work directly in the space itself. Thusly, time is revealed in multi-layers as a function of various site-specific conditions, namely light and atmospheric pressures. Because of these shifting multiplicities, much of the work can never be seen the same way twice, revealing once again the importance of the need to experienced the work first-hand.
It is my hope that the benefits of this kind of viewing experience will be self-evident. To pause and reflect on the renewal of the familiar and to attempt to capture a glimpse of the fleeting moment--or perhaps to simply take pleasure within a sense of wonder—should be done without apology. As the quality of contemporary life feels increasingly rapid and unattainable, we observe that time still measures the same as it ever has. Taking moments to contemplate such conundrums may not only afford needed opportunities to process and restore—a nice antidote to a bombarded life--but more importantly to recognize the disparities and incongruities between the qualities/quantities of our existence, to consider that more than one set of conditions adds up to more than one kind of combined whole, and, that to see our own place in this scheme is a matter of our own decisions/choices and that it is, indeed, a paradox in time.
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