OUT OF THE DIRT
A Brief Statement
Through sculptural installation, print, and digital works, I try to connect the larger occurrence and resonance of history to how one experiences a history. I would say the primary focus of my work right now is examination of the danger of Nostalgia. I do this by associating nostalgia with the ubiquitous and universal experience of anxiety. Not that anxiety is inherently dangerous, but it is a cognitive preoccupation with future predictions and outcomes based on past experiences.
I focus on building installations that are established on my printmaking background. Through this background the sourced image becomes tenant. I look at books and consider the manufacture of the image. I think about these books in their state of editions and how these editions, as they were spread over a geographical plane, created a type of invisible net, connecting all that consumed the images and information. I think about the small subconscious imprint of that image and its layer of thin nearly paranormal existence as a resonating thought that continues to ring from some ethereal place, indelibly. These image sources are from non-academic types of books sold to a middle-class American population in the middle of the 20th century. I specifically chose these types of publications as they reveal a strange variety of image production decisions as well as audience expectations.
I like to return found images to a printing process in order to continue their manufacture. As if to make the image act as resurrected corpse, a ghost, or a hangover. As if to make the charm of yesteryear, the better days predicting the end of days, and the coldness of history have come to reveal a pattern of involuntary, but impactful, thought built into a cultural fabric through their sheer existence. Though, I wonder if it is the image or the reading of the image to be the danger of Nostalgia? I wonder if the resonating field of the fetid image has a half-life, or if it is to commune from the shadows with a culture forever?