Geometry, cartography, and taxonomy are based on variations of rules that function as the component parts of a larger whole. An even larger visual language comprised of platonic shapes, numbers, vectors, and grids is used to describe or synthesize nature, yet it’s their reflexive qualities, their inability to transcend normative modes of representation or reification that make them interesting. The layering of art and process by means of labor and result exposes the habits that inform logistical structures as well as pictorial and formal vocabularies.
My work addresses themes of transparency physically in the form of tracings and constellation drawings on photographs. Photographs present physical information in the form of lights and darks, gradients, solids, etc and subjects through the use of clouds, skies, fireplaces, interiors and exteriors. Layers of lines serve to trace, cover up, and deface the surface. The residue of marks applied and pulled up reveals a process of organizational failures while other work points to metonymic relationships between institutions, pop cultures, and phenomenology. Blacklight is used as a medium to connect psychedelia with phenomenological art, and theatre to forensics. The inclusion of plants, further complicates this role by making blacklight an instrument for growth and propagation. The inclusion of the grid links Euclidean geometry to geometric abstraction while psychedelia bends and distorts the grid, hence becoming the metaphorical equivalent of hyperbolic or topological systems. Overall, this work demonstrates the human tendencies that unite disparate fields of thought. The layering of grids, vectors, and tracings exposes the mechanism of perception that connects larger institutional, cultural, and disciplinary systems.