Illustrating many drawings, purely from memory, of interior spaces that are associated with strong childhood memories. I then stored them in this box, for reasons explained in my "Key West" work from before.
"Spaces associated with strong childhood memories", 2012

Producing a self portrait, by way of groping the face, neck, and shoulders, and not relying on my eyes in any way, the image comes to surface as if by a blind person (in theory). Simultaneously, I mimicked this gathering of facial information and scratched the surface of the material, with an emphasis on values more than outlines.
"Self portrait through palpation", 2012

Not only using audio as documentation, but as part of the piece itself, I created. Utilizing a small basket, a brick, string, and a tree, I produced a simple pulley system. This system will allow me to conduct an audio-performative piece, in which I relay between interior and exterior spaces. Contained in the prologue I set the basket into place from my interior quarters. Next, the action takes place: I attempt to throw miscellaneous objects from inside into the basket, outside. The success of catching these objects in the basket is determined completely by chance, and many objects were thrown together. Lastly, the epilogue, when I leave my station at the window, and put the objects that missed into the basket. I, then, retreat back to the window and pull the objects back into their native space. I then cut the string, and pull the string, destroying the system developed in the prologue, and ending this performative work. The recorder is in the basket through out this entire process.

"Catch and gather piece", 2012

I started to become interested in defining or documenting paths of natural, seemingly unsystematic, occurrences. This is evident in the study I made of the tree branches, swaying, in the wind. I continued on this sort of trip, and marked the path of birds flying to a bird feeder, briefly perching, and flying away. But, what I found, was that during my stay near the bird feeder, only one bird had the audacity to graze in front of me. So, the paths shown above are all from the same bird, coming from the same side of my house that is obscured out of range.
"Bird path piece #1, #2, and #3", 2012

Mentally visualizing sheep, counting to them as I slip into hypnagogia, and physically overlaying text, I document the time it takes to fall asleep through an unpredictable and unreliable system. After days of this practice, my mental performance at every other time was both withering and preoccupied with this work, and the practice became more brief through the sessions.
"Counting sheep", 2012

Perhaps my largest work, by scale, I created this mixed media. Utilizing translucent material, natural greenery, natural dyes, and layering hand made paper fragments between these layers, I created a layered mixed media work that is both improvised and meditative, in that it took months to finalize. This work thrives off of this paradoxical practice, and both are evident in the final product.
2012

Both the sun rise and the sun set have separate, and specific, energies omitted that stimulate you viscerally. Constructing two separate boxes, and lining them with layers of black paint, I plan to absorb the literal energy omitted from both the sun rise and sun set. Opening one at 12, midnight, and closing at 12, noon, and opening another at 12, noon, and closing at 12, midnight; I positioned these two stations to absorb much view of both spectacles, and created two connected works.
"Sun rise energy", "Sun set energy", 2012

Measure the distance at which a gust of wind makes three different tree branches sway, from the same single perspective point. Do this twice.

"Wind Piece", 2012

"Shoulder Piece", 2012

In the chosen space, a bed room, I chose the absolute most essential item. This item needed to be essential in identifying the room, to be it's more defining quality or characteristic inhabiting it, and it had to be essential to the every day functionality of human life. For this, I chose the queen-sized bed mattress. So, I gathered information of the interior space and the mattress, and used them together to follow an illogical accusation. So, in a sense, I was supporting an irrational plan with solid arithmetic.
"Inhabitation Piece #1", 2012

Through a window, you see an exterior world; and, inversely, by looking into a window you see an interior world. By looking outside of your own window, and into another, you can see a world that is both interior and exterior.
"Window piece (interior and exterior)", 2012

Fractured and dismembered boxes, scattered and illustrated on fragile tissue.
"Broken boxes", 2012

Starting with twenty feet of cotton twine, I tie the string around a thin tree trunk deep inside an abandoned wooded environment. I hold the other end, and span North, South, East and West until I've reached my allowance. Then, continuing, I pivot to my right and pace clockwise from the original tree trunk until I've reached another within the area of the circle. With much left to the radius, I wind the rest of the 20 feet of twine around this other tree, making note of it's width in simple terms. Measuring the winding in the form of degrees, like when measuring angles, I document and continue to the next mode of direction.


"Twenty-foot Rotation Piece", 2012

Finger prints as identification, like D.N.A.; sonograms of fetuses, disappearing into nothing.
"Children I will never bear", 2012

Just as a film is made up of many pictures, a textile is made from many threads. I used a singular thread, hemp cord, and meditatively knitted this into fiber, focusing mostly on the process between material and art-maker. I rolled and knitted the end result, with intent to both neglect the visuals of the product, and to mildly obfuscate just how long the process lasted.
"40 feet of hemp cord", 2012

As temporary as the light source, and as infinite as shadow itself. An illustration, free of any specific context, surface, or subject, becomes completely intangible.
"Shadow piece", 2012

"Fallen From a Chair, Falling From the Sky", 2011

This work stemmed from the notion that forgotten memories are reignited when memorabilia is drawn. Here, I stored four precious artifacts from fond memories, and covered it in a translucent material.
Now, both the memorabilia and the memories are stored inside of the box, to allow myself to forget them-- bringing myself into the sort of unknowing the viewers approach the work with. The presentation of this production is based off of trust, trust in the process and trust in the art-maker.
"Key West", 2012

By manipulating the material in folds and in other natural, subconscious, ways, I created a work that is both 2-D and 3-D. Shown hanging from the very top, I allow the folds and gravity to decide where it positions itself.
An illustration appears, obscured and blurred out of range-- created by using my work as my bed sheet, with crushed charcoal. Fading away into the back, this very personal process is depersonalized naturally in the very same process.
"Sleep Piece", 2011

By creating a series of gestural, expressive portraits of the same young woman in charcoal and reversing the exposed side, I depersonalized a narrative involving someone learning another's face.
By presenting the production in this way, also, it is unknown to the viewer how long the narrative is, exactly, and it is unknown of the young woman's identity.
"Meeting an Anonymous Young Girl", (2012)

Utilizing found materials (the remains of a hurricane passing), I constructed new trees. This work thrives off of the failed translation and recovery. Stylized documentary photographs are shown, above.
"Three Trees", 2010

Constructing rope from found fabric and binding it, I produced a cryptid. This cryptid, extracted specifically from a dream journal entry, is hollow with a width of varying diameter, and flares like a horn.
Based off of this context of reality, it is notable to mention the hollowness of this, because the effect it had on me in my subconscious is far more intense and intimate in comparison to this shown translation.
"Cryptid", 2011

 

Minimizing environments to simply four suggestions, situations grow increasingly more illogical.
2011

I received a very open-ended assignment: to create a children's book.
Using found materials, I created a mixed media artist book. Referencing a multitude of dream journal entries, the narrative follows the protagonist's stream of consciousness. Like a child's mind, she meander's in and out of reality.
"Meanders", 2011

Drawing subject and situation from the subconscious, and utilizing found materials, I created an environment-specific and mixed media sculpture. Broken and humanistic, like many of my illustrations, I brought this dead being into the context of reality.
"Man", 2011

Referencing a series of unshown portraits of a young woman, and the woman live as a model, I illustrated.
Withdrawing the qualities typically defining as "female", I created a gender-free portrait, attaching translucent paper with miniature hardware, I obfuscate a void-like environment.
"Portrait of Tori", 2011

Stills from a film, meant for documenting a site-specific installation. Situation and subject pulled from the subconscious, and translated into the context of reality. Abandoning them, I allowed the environment and anonymous audiences manipulate the works as they pleased. After returning daily for a week, all but one disappeared. The remaining man's mask was torn off, revealing a face with little to no features.
"Five Men Not Alone", 2011

Transferring a blind contour illustration of a blanket, to a wire, environment-specific, sculpture. Through the process of taking this image and bringing it within the context of reality, I created a juxtaposition of material.
"Blanket", 2011