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Painting: C-type, Etching, Color, New Media, photography on Other, Wood, Paper, Plastic.
Flash Peak Station, Calico Fault, 05/30/2016, 05:54pm, 2017
Carving on C-Print, Static Mount,
Optium Museum Acrylic, Walnut Artist Frame
38.625 x 30.625 Inches
The work you're looking at exists within a strange space. It’s not all photography, not quite painting, and not quite drawing. They are prints that have been meticulously destroyed, either through carving or chemical alteration; each subjected to a subtractive gesture that reveals latent color beneath the surface.
The markings come from a place of deep-seated anxiety surrounding the seismic nature of my adopted home of Southern California. For years I’ve been torn between the effortless draw of what I consider ‘paradise found’ with the broader realities of what will all too soon become ‘paradise lost.’ To educate oneself on the geological makeup of California is to question why anyone might take the risk of living in a space so prone to catastrophe. And yet the enduring threat of a sudden tectonic shift is what makes California untouchably sublime—beauty plus anticipatory terror.
There’s terror in geological indifference, and it’s something that most people choose to ignore. I’ve chosen to run at it full speed, embracing it, studying it, even transcribing it. Each of my carvings are based on seismic readings from fault lines that run under the sites I photograph, creating a multitude of surface ruptures that speak to a much larger and far more destructive rupture to come.
Each of my unique photographic works are in custom walnut frames. They are protected behind Optium Museum Acrylic, which is the highest quality material used to protect works of art from UV rays. The prints themselves are not mounted in the traditional sense: they are held up using static electricity (static mount) and are in fact reversible, providing the most archival display possible. All works include hanging hardware in the form of a french cleat.
Artist featured by Saatchi Art in a collection