Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Hand formed cubes of plastic culled from discarded electronics. Created while in residence at the Bemis Center for Contemporary Arts.
Reclaimed ceramic tiles, paint, wood.
This series is a visual examination of the relationship of permanence, communication and technology. Portions of potential messages used by the technology are incorporated into technical schematic of the device. These diagrams were then etched into ceramic tiles.
Reclaimed ceramic tiles, paint, wood.
This series is a visual examination of the relationship of permanence, communication and technology. Portions of potential messages used by the technology are incorporated into technical schematic of the device. These diagrams were then etched into ceramic tiles.
Reclaimed ceramic tiles, paint, wood.
This series is a visual examination of the relationship of permanence, communication and technology. Portions of potential messages used by the technology are incorporated into technical schematic of the device. These diagrams were then etched into ceramic tiles.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Glass, ink. 2022
One of a series of ‘portraits’ of broken and abandoned objects encountered in the streets.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
Etched ceramic tiles, ink. 2022
The second series of dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums. These were mainly from transcriptions of my own dreams.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
For over ten years, a close friend has been transcribing and sending me selected samples of his extraordinary dreams. To counter the normally fleeting quality of dreams and memory, I imposed them onto ceramic - one of the most permanent material mediums.
Aluminum soldering screens, electroluminescent panels, printed transparencies.
This piece is an examination of the ephemeral nature of memory and its commonalities in the biological and technological. Five photographs of personal memories are obscured by screens used to solder motherboards and other electronic components. The virtually unrecognizable images are mitigated by the effects of technology and compel the viewer to consider the notion of permanence the relationship between memory and the technological.
Paper collage
Paper Collage
Paper Collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage
Paper collage