"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; military surveillance, movie sets, museum display, amateur model making, and the Historical artifact; come together to form a visual vocabulary that assembles an anachronistic litmus towards the contemporary. An overarching theme would be my interest in the sociopolitical influence on exploration/knowledge production. I try to flatten and fold Histories and contexts, as if I was a time traveling archaeologist, with no sense of normative hierarchy nor linearity. 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. 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 and technologies involved with the creation and dispersal of knowledge help generate discourse in a knowledge-becoming practice. This is done through exposing the mechanisms of display and representation: hardware, which supports a taxidermy bird is exaggerated and highlighted, photographs of landscapes are either taken or reproduced (via painting/drawing) to expose hidden histories, material, technological process, and contexts. These pseudo-narratives are intentionally obfuscated, paradoxical and informative; while pointing at the ambivalent nature of History and Exploration. 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.