Contextualization of my practice
Primary Output
My primary output in terms of creative research is the production and dissemination of new artworks. I work in Printmaking media, photo-media, and sculptural and installation practices. I exhibit regionally, nationally, and internationally, in public institutions such as Museums and Artist-run centres, as well as commercial Art galleries. My practice is predicated on access to traditional Printmaking equipment and facilities, along with a suite of related digital tools. Mirroring the way in which commercial and industrial printing is in a constant state of evolution, so too are the technical aspects of my own practice, as well as my teaching.
Artist Statement
As a contemporary artist, choosing to work in Print-based media, my practice straddles a treacherous conceptual and material divide. The history of Printmaking, is the history of humankind’s enlightenment; printed matter revolutionized the way in which knowledge and information could, and would be spread. Printing gave birth to the Renaissance. Printing gave birth to democratization of the idea of ideas. Printing gave birth to communication.
With the ability to communicate, comes the unavoidable rise of authority; the Author, the Power, the Fact. Henry Ford is reputed to have pre-dated A.J. Lieblings's famous statement about freedom of the press by saying that “the power of the press belongs to the man that owns it”, and in his folksy way, one almost misses the razor-sharp focus of that statement. History does not belong to the winners of wars, history belongs to whomever can tell their tale to the most people.
This is very heavy baggage to carry around with one’s art practice.
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My present work contains reference to this social history of information, power, and authority. Codification of personal-narrative semiotics and strong auto-biographical tendencies toy with my keen interest in the social, commercial, and technical history of Print itself; language; religion, and; popular culture in including music, books, and film.
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At the end of the day, I want my work to ask questions, in the truest definition of what it is to make art. I encode meaning – not to hide – but to incite investigation. In some ways, I hope my work is analogous to the crumpled receipts that emerge, weeks or months old from an unworn jacket, “begging me” to keep them. In doing so, they problematize my seemingly innocuous relationship to the structures that govern my daily existence, and demand vigilant interrogation of my complicity therein. Love is a two-way street.
My primary output in terms of creative research is the production and dissemination of new artworks. I work in Printmaking media, photo-media, and sculptural and installation practices. I exhibit regionally, nationally, and internationally, in public institutions such as Museums and Artist-run centres, as well as commercial Art galleries. My practice is predicated on access to traditional Printmaking equipment and facilities, along with a suite of related digital tools. Mirroring the way in which commercial and industrial printing is in a constant state of evolution, so too are the technical aspects of my own practice, as well as my teaching.
Artist Statement
As a contemporary artist, choosing to work in Print-based media, my practice straddles a treacherous conceptual and material divide. The history of Printmaking, is the history of humankind’s enlightenment; printed matter revolutionized the way in which knowledge and information could, and would be spread. Printing gave birth to the Renaissance. Printing gave birth to democratization of the idea of ideas. Printing gave birth to communication.
With the ability to communicate, comes the unavoidable rise of authority; the Author, the Power, the Fact. Henry Ford is reputed to have pre-dated A.J. Lieblings's famous statement about freedom of the press by saying that “the power of the press belongs to the man that owns it”, and in his folksy way, one almost misses the razor-sharp focus of that statement. History does not belong to the winners of wars, history belongs to whomever can tell their tale to the most people.
This is very heavy baggage to carry around with one’s art practice.
*
My present work contains reference to this social history of information, power, and authority. Codification of personal-narrative semiotics and strong auto-biographical tendencies toy with my keen interest in the social, commercial, and technical history of Print itself; language; religion, and; popular culture in including music, books, and film.
*
At the end of the day, I want my work to ask questions, in the truest definition of what it is to make art. I encode meaning – not to hide – but to incite investigation. In some ways, I hope my work is analogous to the crumpled receipts that emerge, weeks or months old from an unworn jacket, “begging me” to keep them. In doing so, they problematize my seemingly innocuous relationship to the structures that govern my daily existence, and demand vigilant interrogation of my complicity therein. Love is a two-way street.