Value

shown are two of four pieces displayed in a prestigious art gathering funded by a large patron foundation in cincinnati.  this was a study in isolating an audience and poking a hole in the lens through which they view art. 

negative space

to challenge the idea of nothingness or the notion of negative space, i rubbed charcoal over a scrap of paper onto another paper creating an activated positive space leaving the white space as negative.  i then cut out the center of the white oval to create more nothing. i then took the cut out and pasted it in the upper right hand corner to activate the original negative as the new positive.

christ on the cross "with a view of toledo"

this is a sample of a study in which i exposed sketch paper to various paintings in a museum and wrote only the title of the piece.

compressed charcoal

 the two drawings on the left are pages from a newsprint sketchpad that i used to create quick abstracted drawings of nature to try and render elemental forms.  the drawing on the right is a jab at the absurdity of using a limited system of limited mediums to relate and analyze a boundless plane of existence.  by writing "compressed charcoal" on the page the veil of the illusionary or representational nature of art is lifted so that the viewer can plainly see that such work is simply something on something masquerading as something else.

this image is one of nine different exposures taken with the camera's lens cap on.  in essence, this is the anti-photograph.  without any light information to read, the camera's sensors create "dead" pixels.  with literally a photograph of nothing, i presented the nine in a grid format in a critique setting without saying a word about the piece and letting the inevitable discourse happen despite the fact that there was "nothing" to discuss.  this relates to our own limited sensors and the fact that, as humans, we can perceive only a fraction of the physical scope of existence.  what we see as nothing is only everything that we cannot comprehend. 

 

newsprint

by hanging pages of newsprint in my studio space, i have initiated their activation as art.  other than moving their position on occasion, i have no part in their development as drawings.  i allow time and space to exist on the page as a live representation of the constant change that is the elemental definition of our existence.  the movement of one particle infinitely changes what something is, because it is no longer the same.

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