What solutions are these? Are they solutions to a question or just a point of reference, and how binding is that? The interesting thing about a point of reference is that the viewer is very much involved and choices have to be made-right? But there is a model behind this work. Something orchestrated or disguised and at times both.
What I enjoy most about the work is the accident of a solution. Any solution I seem to find in the work weighs heavily on my own interpretation. Not unlike a lucky guess at the reasoning behind such craft and aesthetics.
-What draws you no pun intended- to take such labors in replicating a material as well known as graph paper?
Drawing is thinking, even when it's a million straight lines with a ruler.
-What does reading mean to your work? I mean this in a few different ways. First is the convention of reading something left to right or beginning to end. Second is the importance of the viewer reading the materials you use. Third is the reading of the illusion you make of a material.
Reading is paramount to interpretation. The conundrums I propose require an active gaze that questions.
-Do you find any limits to the materials you use?
In the case of replicating graph paper, it's the reaction to the very limits of the material that becomes significant for me.
-Do you think you could alter your work to adapt to any environment?
The stronger the environment the work is in response to, the less it seems adaptable.
-Do you consider yourself a playful practitioner of art? If so what benefit does this lend to your overall goals in art?
My definition of play is synonymous with exploration and experiment two very important goals in art making for me.
-What is the object you want people to see in the end?
I want people to recognize an object that can be at once factual, beautiful and questionable.
My drawing practice is central to several overlapping bodies of work, which include site-specific instillation, photography, painting, and sculpture.
A recurring theme in my work is the investigation of the boundaries that separate simple perception and thorny knowledge. Banal, overlooked architectural elements and spaces - tiled walls, decorative trim and molding, bricks and mortar - even pictures in galleries are the physical locations that act as placeholders for simple perception. I subvert these spaces with subtle interventions that often pass as the thing itself. Adhesive tape passes for grout, photos replace subjects, and drawings pass for graph paper.
My drawing consists of the creation and augmentation of structural circumstances. Whether these conditions are constructed of graph paper or architectural structures, I subtly undermine the certainty and order denoted by their object-hood. With pencil and ruler I make graph paper drawings often with imbedded semi-narratives. I apply sculptural devices to create drawings with aberrations in scale and also devise obliquities deviations of lines that then generate multiple unique drawings. The confrontation and reconciliation of the viewers gaze within these booby-trapped situations invite an active aesthetic reading, exploring the boundaries between perception and knowledge.
If our gaze defines how we relate to the world and how we participate in shaping it then the shape of our participation is contingent on what we perceive to be the parameters of our engagement. I endeavor to heighten the importance of perceiving the fluidity of these parameters.