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I approach painting as a form of research or a
sequence of essays. My orientation to painting comes out of my interest in cinematic
language. Through painting, I hope to explore ideas of deep time, geological time, and
bodily vulnerability and protection—where the human body is seen as a relay
between natural and artificial environments. Formally, I use the painterly vocabulary of
the line ... read more(as oppose to the plane) to build an iconography adequate to the visualization
of neural processes as impacted by technology—machine-assisted viewing, digital
image archiving, and emergent three-dimensional imaging all inform the deployment of
perspective in painting.
In moving from painting to
video, I hope to draw a connection between my interest in topology and geology and my
interest in cinema—which is to say, to try to break down the language of cinema
to its “archaeological” components. In cinema or media studies, the moving
image is understood as three different technological paradigms (the camera obscura, the
persistence of vision, and photography) historically “superimposed” on one
another. The notion of “deep time” remains important to me here: the way
in which various patterns of intelligibility are superimposed upon one another and
effect the abstract historical structure of our understanding—the idea of a
previously lost or obscured sequence of overlain topologies that precede and undergird
one’s experience of mind and body.
My more
recent video work aims to explicitly translate textual and historical research into
essayistic, associative imagery. An ongoing research project on
“corporations,” broadly understood, informs my study of the relationship
between secularized religious concepts (“corporate personality”), economic
concepts (the metaphysical idea of perpetual growth), and forms of group identity (the
institution and the iconography of church and
state).
MFA Thesis
2020read less
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