short artist statement
"We have to remember that what we observe is not nature herself, but nature exposed to our method of questioning." (Werner Heisenberg)
I am interested in the production/reception of information. Particularly, how romanticized notions about the world come into fruition. Vernaculars of representation like; movie sets, museum display, amateur model making, and the historical artifact; come together to form a visual vocabulary which assemble an anachronistic litmus towards the contemporary. The overarching theme would be my interest in the socio-political circumstances of exploration/knowledge production. I try to flatten and fold histories and contexts, as if I was a time traveling archeologist, with no sense of normative hierarchies nor linearities. No object, Histories, nor humans have priority as activators over each other in my investigations. The root of my practice is ultimately an onto-epistemologic investigation into how science a/effects the world and how the world e/affects science and in what way does that relationship situate itself in a larger democracy.
The work seems to be telling a story while talking about how the story is being told.
Excavation of hidden histories surrounding paradigm shifts help generate discourse in a knowledge-becoming practice. This is done through exposing the mechanisms of display: hardware, which supports a taxidermy bird is exaggerated and highlighted, photographs of landscapes with hidden histories are presented in the ubiquitous manner one might experience of them in person. These pseudo-narratives are often paradoxical and absurd, humorous while being disturbing, and informative yet obfuscated. Theatrical lighting frequently plays with the notion of a staged set.
My work is fueled by an enthusiasm towards the History and Philosophy of Science and how seemingly disparate technologies, economies and ecologies can spin connections towards social paradigm shifts. My earnestness towards the research is not as a Historian, but an attempt at extracting the vestiges lost in knowledge exchange. The work resides in the tundra of epistemology, one that cannot be separated from ‘being’.
Light is a particle and a wave.