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Incumbent Cruft (Self-Evident Truths)

This work was created during my artist fellowship at The Hacktory which is part of the Department of Making + Doing in Philadelphia. Upon my arrival I began to think about the places and things in Philadelphia that I was familar such as Independence Hall, the signing of the Declaration of Independence, and the Liberty Bell.

Due to a fortuitus change in accommodations I soon found myself driving daily through West Philadelphia. Like other large cities such as New York and Chicago, Philadelphia was reminding me that one only needs to turn a corner to find that one street separating neighborhoods of affluence and those of poverty. Each day I imagined passing through the thin membranes separating these neighborhoods, trying to sense the pressures pushing from both sides. Some days the temperature was much hotter on one side than the other.

Thanks to everyone at The Hacktory and the Department of Making + Doing for the opportunity and support to make this work.

CRUFT: Art from Digital Leftovers

I make work that spans computational art, performance, installation, painting and object-making, using collage, remix, automation, indeterminacy, and randomness to bear upon the computer and the Internet as machines that regulate and restrict just as much as they can be used to disrupt and resist dominant codes of seeing and being.

My art practice reflects on our relationship to media technologies, especially surveillance and mind control, and in the process contemplates what a post-human art may look like. Organized under the umbrella concept of Cruft, I take apart, juxtapose, recycle, and interrupt the relentless flow of media to reveal a relationship in which we don't simply consume media, but are also consumed by it.

Digital collages called Cruft are created by scraping the web using computational algorithms that remix mainstream media sites like CNN with social networks of individuals, and reproduce, in mimicry of the 24/7 media cycle, the narrow choices permitted in public discourse. In another series of recent work, Machine Vision, I recombine footage from surveillance cameras with other media, to explore the relationship between war, surveillance, and automation within an overall machine aesthetic.