addicted to winning, 2012
digital images on archival paper, triptych.
necrophilia mon amour, 2011
installation at the dirt salon in hartford. [text on floor]: gaffers tape; [wall texts on right]: digital prints on archival paper; [panels on left]: aluminum paint on corrugated cardboard, letters peeled; shine on you crazy diamond, digital video projection and on monitor. [photos by phil fortune].
It's only a game if you win, 2011
installation at atom space in hartford.
[overhead]: big black cloud, plastic pennants; [floor and plinth]: heads i win tails you lose, acrylic paint on corrugated cardboard; [urn]: is it getting hot in here or is it just me?, vynil decal on cast resin, fluorescent light fixture.
as above, ongoing
digital images on arcival paper.
looks like i picked the wrong week to give up amphetimines, 2011
sculpture included in the exhibition 'is it conceptual?' at the john slade ely house center for contemporary art in new haven. gaffers tape on wood, metal chain, plastic pennants, framed digital print and vinyl wall applique.
the other side, 2011
installation at soap box gallery, brooklyn. [on back wall]: (black hole) hey man, nice shot, acrylic paint on corrugated cardboard; [suspended in foreground]: double screen, spray primer on nylon netting; [side wall]: you know i got your back, right?, marker on digital print; [under monitor]: 7up, digital print on plastic bucket; [on glass door]: rock, acrylic paint on corrugated cardboard; empty world, digital video.
long live rock, be it dead or alive, 2011
acrylic paint on corrugated cardboard, with detail. color photograph, still from the 1967 film 'in like flint'.
statement
i am inspired by the pivotal social and political events that have shaped our world. i make work that is a conceptually driven investigation of these ideas and their impact upon everyday life.
the work is presented in installations that combine multiple individual pieces (sculpture, video, photography, painting, drawing), arranged within the proscribed space to form provocative visual and intellectual layers.
some pieces may be revisited and revised within a new exhibitiion. the original subtext is brought into the mix and then reacts to the new arrangement.
the pieces employ suggestive titles and visual references, (rock and roll song lyrics, sexual inuendo, art history, industrial design), which draw upon sub/conscious nostalgia as a means of stimulating multiple readings. positioning the work within this cognitive framework allows for it to reflect on current and historical events from several different perspectives.
