About Me

 I am a talentless hack that relies heavily on technology as an aid—or tool—in almost everything I make, if you can even call what I do “making”. Most of my practice revolves around developing myself as an artist more than it does creating any kind of tangible art, as well as growing my newly founded art movement Neo Faux Conceptualism. The ideas I call my art pieces can quite easily be dismissed as not much more than pseudo intellectual thought experiments. One might say my medium is ideas, and others might say I’m a multidisciplinary artist working with a range of mediums and materials, but neither provides much clarity.

When encountering my work, you may experience an interactive installation that mirrors you as a projection, and fragments you into buzzing particles. This installation, if you choose to engage, will encourage you to then merge your disseminated particles with those of other participants. I would say that work, Embracing New Matches, is about connection and vulnerability yet some people view it as a toy to play with. In another situation, you might be intrigued by a distorted image I’ve affixed behind some antique glass and as you move around to decipher the message it’s hiding, after you’ve committed too much time and energy to it, you’ll discover it says “Gravity doesn’t really care how many orgasms you gave them”. What do you do with that? Has the absolute ambisurdity of the work made you lower your guard enough to consider what that text might mean to you, or, do you decide to walk away frustrated and let down by the state of contemporary art? What happened to all the nude women? Well, given the right show you might see that from me too but again, there’s a chance you might be disappointed by how I approach that topic.

All of that is just the tangible stuff too. When Vian Stairwell comes up, that’s really when my artistic integrity starts to be questioned. In that work, I use intellectual property itself as my medium. Placemaking is the artwork so I do not claim the physical stairwell with its decades of built up art and graffiti, but the place that I’ve determined it to be. What’s the difference between space and place, and what about location? That’s a good question but Vian Stairwell is all about the act of claiming it as my art, making it my work and considering ideas of intellectual property. Futurepast cultural historians will analyze this work and suggest much more meaning, such as: theorizing it was about institutional critique; consider that maybe it was intended as an educational piece to provoke discussion regarding art ownership and ownership in general; and they may even posit that the intentions weren’t so much “sapionacious” as they were antagonistic, just to garner attention. Who knows, I don’t have much of a say in that anyway.

My background influences my art, but that’s personal—no one else really needs to know about it. I make work for people who are genuinely interested in engaging with it, though it’s hard to know who they might be ahead of time. Although, it can be made quite obvious to me who the work isn’t really made for once they experience it. So I make work for myself, reflecting what’s currently circulating in my consciousness, and hope that by exposing viewers to those thoughts with a level of ambiguity, I can facilitate a way for them to discern their own connections to it. Currently I am interested in perverting systems, and questioning established frameworks by engaging in ambisurd processes, as an effort to gain a sense of hope and praestalgia.