Statement

Working in lens-based mediums for over ten years, my art practice has incorporated many methodologies while examining photography as an empirical technology in the service of institutional narratives.  My recent work in the last five years has approached this investigation with photographic prints and publications that purport to supply factual information sourced from various organizations that, while fictional, mirror various actual, archival, governmental and occult entities. The exhibition of each project within a museological or institutional context is often key, as this helps to re-iterate a relationship with formal-rational systems of information. To do this I have variously incorporated vitrines, plinths, wall-mounted graphic displays and video projections alongside framed prints.  These projects are, to varying degrees, self-conscience and can incorporate tongue-in-cheek humor as a tip-off to viewers about the conceit of the work. They are also discrete and do not necessarily rely on consistent formal languages within the medium to substantiate the fictions on which they are founded.  Each body of work adopts an aesthetic matched with the subject matter to which it pertains.  

While my projects adhere to different aesthetics they do share themes and concerns. I have a long-standing interest in architecture and the language of architectural photography, particularly in the post-War German tradition.  My engagement with this field in each body work has been often directed towards underscoring the crux of each project and manifests itself differently in each instance.  I’ve incorporated my interest in architecture and its representation through photography variously by using archival architectural images as source material for composite images, visiting and photographing well-known architectural sites in the American West, constructing my own 3D architectural renderings and even surveying the artificial light output of a small town in Utah.

Accompanying my engagement with the field of architecture, I also have a long-standing fascination with archaeology which I’ve often incorporated into my work.  Specifically, I’ve been interested in the epistemological aspects of archaeology and the problematics inherent in it - the knowability of the past being largely conjectural in light of the subjective nature of historical accounts and the perspective of those interpreting them.  Several of my projects make light of the irony of the field’s situation (being at once a rational and speculative science) by adopting the authority of an institutional “voice” to present fictionalized archaeological findings.