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I collect the images I use in my work from various sources including the Internet, water bottles, travel magazines, advertisements, found objects and tourist photographs. I seek imagery to appropriate, whether it is a grand vista, a fall sale flyer or a worm-eaten leaf. When combined together, what emerges is the frequency, pace and place in which images create visual energy through the way they appear together.
I juxtapose organic imagery with images that intimate how humanity and its detritus merge into the natural world. I use the language of printmaking to address the practice of mass production. Using a four-color separation silkscreen process reflects photographic reduplication, an intrinsic element of contemporary mass culture. Working directly onto the wall and windows of the gallery spaceand constructing mixed media installations allows me to integrate the work into the architecture of the space. There is a heightened perceptual and conceptual understanding of the configuration of the framework as the viewer becomes aware of the space and context of the work, thus revealing the mechanics of the mirage.
The found leaves, hair bows, or maps transform themselves into new forms. The pictorial language with the visible materialquality of the work develops into an intense dialogue between the images, their physical support and configuration, and the inherent language of materials. The eventual and inevitable collapse of the system, including the physical structure or the object itself, creates the flux that is at the core of thework. As a whole, the work delivers as much as possible without breaking the essential connections that would cause the system to collapse in on itself.