DESCRIPTION OF
PRACTICE

How can basic human and ecological needs be met within a culture that strategically, systemically denies their existence?

I think a lot about our present situation. Neoliberalism is a system of economics and governance. As a society, we live under this ideology but many of us don’t even know its name, let alone comprehend the invisible ways in which it colors our understanding of the world and ourselves. While I strongly encourage others to educate themselves on this crucial topic, I am not qualified to provide this education. I am not an economist. I have no solutions. Rather, I present chances to re-evaluate what we think we know, how we define reality.

Since ideologies define our conception of reality, it is necessary to create situations with operate outside of ideological logic in order to imagine potentialities for different realities. I make and offer new situations. They are a strategy: one possible way to pierce the veil. Past and present, memory and dreams, real and conception, self and society -- these seeming dichotomies are completely porous, in constant flow back, forth and across each other. Extended empirical experiences with perceptual stimuli for which a singular reading of physical materials (including light) within a four-dimensional space is not possible makes this state of flux clear.

My works are immersive, site-conditioned, digital light projections. Abstract animations are made and presented through projection-mapping. This mapping usually involves sculptural objects and/or existing features within the space.  The materials are easily recognizable: wood, fabric, walls and floors, light. You know exactly what you’re looking at. However, as the light moves, changes in brightness and color seem to alter the material properties of objects and the relationships between them. So, now,  you know exactly what you’re looking at but you have no idea how it looks the way it looks. What you thought you understood is presenting itself in an altogether unfamiliar reality. 

My studio practice and academic pursuits brought me to the subject of Perception Theory. Maruice Merleau-Ponty had a huge influence on the work of artists Robert Irwin and Donald Judd’s respective continuations of this theory, in both their writing and studio practices. Merleau-Ponty described vision as a product of our eye and mind working together. Our eyes perceive everything in front of us. However, for efficiency, our mind filters the information. Unimportant information, though perceived, does not register in our vision. We literally don’t see it. Cultural systems of value influence our vision. As a society, we seem to value productivity above all else. Whatever obstructs productivity is looked down upon. In the name of The Real World, human emotion is cast as frivolous, irrational, unreal. This is not to say that individuals or groups don’t value emotions. As a culture, though, there is little place for it.

So, I make these works because they are spaces with room enough for my whole self. The making of them is a practice of actively attending to the present, to my physical moment and place -- to my situation and my humanity. It’s looking to see what I’m not seeing. It’s a process of engaging fully with both external and internal reality. Hiding from reality often times feels like the only way to emote fully. Or else, I have to tamp down emotion in favor of performance. In the studio, it’s the opposite. Mobilizing inner child psychology, I ask myself what I want to play with [one-person dance parties are a frequent result!]. Play connects my emotion with my situation and starts to dissolve linear time. Being engaged absolutely and at once with the world in front of me and my humanity recalibrates my entire outlook on both. I feel confidence, optimism, and a rightness with who and where I am. I don’t know that others have entirely this same experience with my work, but, many have told me they indeed feel it opens a unique space of emotional presence. This comes after spending sufficient time with the work for empirical experience with the shifting perceptual stimuli to take place. Looking to see what I’m not seeing makes room to feel.

Immersed in my situation and my humanity, I can see the invisible and feel the suppressed. I know what is real and what is construct.  





STATEMENT ON
VISION

Western thought has maintained, since the Renaissance, a vantage point separate from the world. We are not part of the world. We look out upon it. This is a lie. In art, one point perspective epitomizes this fallacy. We call this lie Realism. One point perspective does not exist. We are within and of the world. We see many things at once. In order to bring our cultural vision closer to reality, we must abandon this idea of a fixed, exterior looking-on in favor of a vision that requires multiple perspectives to form a complete picture. Art is the most logical and effective place to initiate this cultural change.




SOME IMPORTANT IDEAS FROM OTHERS:



ADRIAN KOHN


Heightened Perception: Donald Judd, John Chamberlain, Robert Irwin, and Larry Bell, 1960–1975
“A prominent similarity becomes clear amid the perceptual experiments of Donald Judd, John Chamberlain, Robert Irwin, Larry Bell, and several other artists in the 1960s and 1970s. These painters and sculptors made works that bring about new visual phenomena and that demand a specialized mode of vision, a way of seeing that trades the utility and efficiency of everyday sight for a hypersensitive focus upon what is unusual and barely discernible. The payoff for the extreme amounts of time and effort required to observe artworks in this manner constitutes common ground as well. By engaging their paintings, objects, and spaces, one can gather new knowledge.”


“Most works are best understood visually and not verbally, of course, and the translation into language of thoughts inextricably tied to material, space, and phenomena presents additional difficulties.”


“The failure of language seems to coincide with the discovery of unprecedented phenomena and of the impending limits to one’s present perceptual capacity. Probing this threshold remains a promising way both to encounter fresh sensations and to continue heightening one’s sensitivity to even subtler phenomena.”

“Sensations for which we have no good name begin to register when one takes a little time to look more closely than usual.”

“Often, with [Irwin’s] art, the phenomena one perceives ultimately defy direct description.”

“The dot and disc paintings refine acuity across the board, eliciting unaccustomed examination of sights thought already familiar, first glimpses of phenomena heretofore subliminal, and newfound sensitivity—albeit unconscious—to stimuli altogether imperceptible before.”


“Experiencing these sensations, and relearning how things look and how they are, amounts to new knowledge about a world that can sometimes seem exceedingly familiar when we cannot take the time to scrutinize it.”

“By perceiving phenomena so unlike what we normally apprehend, we learn about the novel sensations themselves but also discover the existence of vast amounts of sensory data that go unremarked in art objects and in the world at large.”





Chicago, IL

EDUCATION

MFA
Studio Art: Film/Video/New Media, 2019, School of the Art Institute of Chicago, Chicago, IL
BFA
Fine Art, 2012, Corcoran College of Art + Design, Washington, DC


EXHIBITIONS

2020
Perspectives 2020, CICA Museum, Gimpo-si, Gyeonggi-do, South Korea*

2019
Moving_Image_00:06, Dfbrl8r, Chicago, IL*
MFA ShowSullivan Galleries, School of the Art Institute of Chicago, Chicago, IL
StreetlightWedge Projects, Chicago, IL

2018
20/20 Double Vision, Dupont Underground, Washington, DC
Streetlight, Roman Susan Art Foundation, Chicago, IL

2016
13th Annual Transformer Silent Auction, Katzen Arts Center, Washington, DC

2015
12th Annual Transformer Silent Auction, Katzen Arts Center, Washington, DC
Enveloped, CulturalDC, Washington, DC
Art All Night Nuit Blanche DC, DC Commission on the Arts and Humanities, Washington, DC
Virtue by Proxy, Bar Dupont, Washington, DC

2014
Shiver, Delicious Spectacle, Washington, DC

2013
Stasis, Bar Dupont, Washington, DC

2012
14,000 Ft., Civilian Art Projects, Washington, DC
Créme de la Corcoran, Gallery 405, Baltimore, MD
NEXT at the Corcoran: Class of 2012, Corcoran Gallery of Art, Washington, DC

2011
Attention:, Caos on F, Washington, DC
Undergraduate Juried Exhibition, Juror: Andrea Polan, Corcoran Gallery of Art, Washington, DC

2005
Prospect/Introspect, Orchard Gallery, Bethesda, MD
*expected

AWARDS

2018
Summer Merit Scholarship, Ox-Bow School of Art and Artist , Saugatuck, MI
2008 - 2012
President's Award, Merit Scholarship, Corcoran College of Art & Design