My art is a kind of transitional morphology.  I misuse xerox and fax machines to create highly abstracted analog glitches which are then increased in scale via digital means.  The resulting forms are singularities developed through chance, generational loss, and a grudging synthesis with technology.  Placed face down, images are copied, recopied, and overprinted, while an adroit layering of increasingly distorted images on the glass during the copy process builds up or erases surface.  Vertical striations are produced through a tug of war with a fax machine.  Paper is forcibly held back from advancing, causing the motor to tremble violently to the point of failure.  

I draw influence from the alchemical maxim Solve et Coagula, as well as the Gutai, particularly the paintings of Kazuo Shiraga - an artist famous for painting with his feet or body.  Many of these “copies” were made guerrilla-style while working as an office temp in the early 2000s.  Subsequently this series is sourced largely from invoices and bills of lading - documents of commercial transactions rendered now totally useless through systematic misuse.  My work in part questions the lasting stability of our technological certitude; I see technology as an intermediary force that threatens to erase one world and create a new one it’s place.  The turmoil we feel now is a manifestation of our uncertainty.  We have not yet left the past, nor have we arrived in the future.