Ecce Homo: Trace Evidence
The Ecce Homo: Trace Evidence images are created in response to Donald J. Trump's policy of institutional child abuse taking place on the Mexican border. These images bear witness to a time when our government creates orphans by permanently separating migrant children from their families. I bear witness to the defense of the indefensible. Refusing to call a cage a cage does not transform a cage into a chain-link partition. In Donald Trump's America migrant children are incarcerated.
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CRUFT: Art from Digital Leftovers
My art practice produces code-based automated art, live art performance, drawing, painting and sculpture all of which examines the relentless flow of information on the Internet that quickly becomes digital leftovers to reveal a relationship in which we don't simply consume media, but are also consumed by it. I explore the Internet as source material to be appropriated, taken apart, juxtaposed, and recycled by writing computer code that is automated and runs on a 24/7 schedule producing a form of collage I call Cruft. The resulting digital artwork allows me to investigate broader issues of originality, authorship, reproduction and temporality.
In response to the intense pace and constant change happening online, my art practice includes a slower and thoughtful method of applying traditional media such as charcoal, paint, wax and ink, to prints of selected Cruft images. These mixed-media images are created over longer periods of time resulting in a meditative process that subverts the goals of speed, spectacle and distraction, offering an opportunity for slower looking and deeper thinking compared to the crushing overload of an endless stream of automated Cruft.
The Internet has the ability to provide freedom by connecting us at great distances, democratizing the world's knowledge, and facilitating disruption and resistance to systems of power. It can also simultaneously provide control by restricting and regulating our thoughts and actions while propagating fear, divisiveness, surveillance and repression. My artwork delves into the very nature of the Internet, pulling at it’s strengths and exposing the flaws, producing what has been coined Post-Internet art, that by definition references the "network" that we all inhabit, and ultimately, it's effects on our society and culture.
My art is a personal inquiry into fundamental questions about our values, ideas, fears and dreams. I am interested in how the humanities and technology shape our individuality and communities, and how the arts and humanities can inspire us to ask who we are and what our lives might mean.
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Past exhibits include The 20th International Generative Art Conference, Exhibition & Live Performances, at the MAR, Museum of Art and Classense Library in Ravenna, Italy 2017; Artist Statement: Exhibition and Publication at Czong Institute for Contemporary Art, CICA Museum, South Korea, 2016; Art2Code Exhibit and Catalog, College Art Association and Arts Collective V1B3, Washington D.C. 2016; Unknown Territory Exhibition: New Art From The Hacktory, Grey Area Gallery, Crane Arts, Philidelphia, PA, 2014; InterArtive, Culture + Urban Space, Issue #65, Barcelona, Spain 2014; Hz Journal #19, Stockholm, Sweden, 2014; Synthetic Zero Event, Bronx Art Space, Bronx, NY; Generative Art International Conference, Rome, Italy 2013; PRISM Breakup @ Eyebeam, NYC, ReFest / Art+Tech Festival, organized by CultureHub at La Mama, NYC; Neuromast: Certain Uncertainty and Contemporary Art, Franklin Street Works, Stamford, CT; Interrupt II Festival and Conference - Brown University, Providence RI; cgiv2011, Digital Art Gallery, Computer Graphics, Imaging and Visualization, Singapore; DRHA 2010 Conference: Digital Resources for the Humanities and Arts, London, England.
I am currently an Associate Professor in the Department of Cinema and Photography at Southern Illinois University Carbondale.
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