Artist Statement

Paul Klee’s line “art does not reproduce the visible; rather, it makes visible” is, to me, a mandate that begins by, and is predicated upon, rendering something already visible. These things are cultivated both from available/recognizable materials and embedded references which situate the work. This is why there’s more than one love song, each iteration rendering something newly visible about a familiar condition. The structures of popular song form are occupied by markers providing both context and novelty for the listener.

I too am trying to render the newly visible by way of the already visible, and, like a pop song, the subjects of my rendering tend to be human, even when there’s no figure present. A kind of pre-modern investment in rendering as the highest art form. I try to depict subjects sensing differences and solving problems, interacting with other agencies in time and space and history. I find that vernacular media is a productive place to see these relationships in action. Lately, I’ve concerned myself with games, show-dog obstacle courses, comic books, toys, and signage. These public objects and texts, their furniture and architecture, end up describing the edges of available human experience. A theory of subjecthood where the python grows according to the size of the terrarium; limit systems and the agential relationships they afford for an individual or a culture. Proximity, boundary, distance, weight, and surface come to reflect ethics, assumptions, and emotions within a society. Human experience defined by the size of the symbols available.


2016 MFA, Yale School of Art, New Haven, CT
2011 BFA, School of The Art Institute of Chicago, Chicago, IL

Selected Public Offerings
Partners: Yale Painting & Sculpture MFA 2016, Abrons Art Center, New York, NY #
Yale School of Art Sculpture MFA Thesis Exhibition, Green Gallery, Yale University, New Haven, CT #
The News, w/Orion Martin, Los Angeles Contemporary Archive, Los Angeles, CA ∞
Video Mixer, Green Gallery, Yale University, New Haven, CT #
“Book Review: Perfume Area,” C Magazine 127, Toronto, ON, Fall 2015 ^
Peter, Paul., A-1, Chicago, IL ∞
Most Loathed, 3401 Lee St., Los Angeles, CA #
The Daily Show, Bureau Inc., New York, NY #
“0.5 MOMMY MAN,” Topless, Far Rockaway, NY =
“On Anxiety/Latency Fantasy,” Trauma, Anxiety, and Humor: New Art and Experience symposium, Yale University Art Gallery, New Haven, CT, February 21 !
Joshing The Watershed, Del Vaz Projects, Los Angeles, CA #
Two Scores, DVD as Sam Davis, The Faustus Group, Los Angeles, CA %
HaFo SaFo, Secret Recipe @ 3daysawake, Los Angeles, CA #
False Scent, 321 Gallery, Brooklyn, NY #
Louie, Louie., Human Resources, Los Angeles, CA –
“Notes for an Opera Taking as its Subject the Accidental Acquisition of Information,” Via Publication, issue 3, Los Angeles, CA, Summer 2014 ^
3 Things For 2 Things, w/Andrew Norman Wilson, Hammer Museum, Los Angeles, CA ∞
Gnotts’s Gneedles: Poor Gnotts, LA><ART, Los Angeles, CA (window display)
“Notes For A New Documentary,”, April 3, 2014 ^
Too Soon, Perry Rubenstein Gallery, Los Angeles, CA #
Slowly We Rot, Forever & Always Projects, Chicago, IL =
Dream Date OST, cassette as Dog Man, Love Lion Tapes, Chicago, IL %
“Science Fictive Affect, Material Unknowing,” Writing Technologies & Material Culture panel, Eaton Science Fiction Conference, UC Riverside, Riverside, CA, April 13, 2013 !
How Completely The Term Has Lost Its Proper Meaning, w/Benjamin Chaffee, Experimental Sound Studio, Chicago, IL +
Science Fiction & What It Feels Like To (Already) Live In The Future, Actual Size, Los Angeles, CA –
Everybody’s Autobiography, w/Benjamin Chaffee, MacLean 705, Chicago, IL +
Spectrumassembly#1, The (New) Corpse Space, Chicago, IL –
“On Moves: Proximity,”, November 18, 2011 ^
Racetrack Player, Charnel House, Chicago, IL #
Please Remember Everything, Actual Size, Los Angeles, CA #

= Solo
+ duo
# group
∞ performance
– curatorial
% consumer object
^ textual Criticism
! lecture