I propose that all media is time-based. I work with entropic materials to craft still lifes that won’t hold still. My installations critically examine landscape representation, frontier mythologies, and temporal imagination in a moment of global climate precarity.
I work with cast sugar, ice and liquids, glass, concrete, fiber, video, sound, and found objects, to comprise durational micro-environments which challenge the strength or fragility of component parts. These materials are precarious because they persist beyond their planned demise: things break down but they don’t go away. Materials are burned, melted, transformed, and conglomerated, becoming something other than what they were designed to be in the after-life of failure. The peculiar phenomena of failure in this material sense is not simply the disappearance of a known thing, but the simultaneous and uncanny replacement with a nameless something. What possibilities come into view when known structures and categories fall apart?
The language of Romantic landscape painting in North America is embedded in contemporary visual culture, leaking into cinema, advertising, and tourism. This legacy of landscape suggests that popular images of landscape and wilderness should be read temporally, a projection in future perfect tense.
(a place to be settled; a resource to extract; an edge to be pushed; an emptiness to be filled)
North American frontier mythology relies on the bookends of mythic empty deserts and circumpolar regions, imaginary voids, a reversed horror vacui. Through use of theatrical staging reminiscent of early cinema, I point at the artifice at work in performing encounters with empty landscapes.
I want to direct the gaze away from the promise of futurity in the endless horizon toward a confrontation with the foreground, the place where we currently stand. Connecting fleeting human time with geologic time scales, I see the foreground as a crisis point, littered with potential future ruins.