My current work focuses on the ambiguities of globally connected digital experience, the difficulty of conceptualizing digital “spaces,” and the proliferation of digital objects of all kinds. It attempts to formulate a visual language to express the comfort, familiarity, and ease of digital experience, as well as its bewildering complexity, strangeness, and uncertainty.

This conceptual focus is reflected in my process, which integrates traditional techniques and aesthetic principals with contemporary production methods. For my 2d work, I first create 3d sculptural environments in the modeling program Zbrush. I then export images of these “digital dioramas” to Photoshop where I paint over them, detailing and unifying them. The resulting work, printed on metallic paper and mounted to acrylic, resembles at once a digital image, painting, and collage. My 3d works operate in much the same ways, only the pieces are 3d printed or CNC routed in a variety of materials as wall-hanging, free-standing, or installation sculptures. I have recently begun combining these two bodies of work by projecting images and gifs over digitally fabricated sculptures.

The masses of merged models common to these works evoke the cultural cacophony to which technologically facilitated communication and digital saturation has led. For people who are digitally connected, information is available so readily and in such quantity that it is impossible to make sense of in its entirety, but can only be understood selectively. My work engages this information overload by creating relationships between artistic, historical, cultural, political, and economic indicators that are sufficiently suggestive, yet sufficiently complex as to both promise and deny intelligibility. This highlights the essentially human practice of sense-making, as well as the impossibility of accomplishing it accurately or completely.

Primary influences on this work include: Keita Takahashi videogame “Katamari Damacy,” the dream parade from Satoshi Kon’s film Paprika, the paintings of Bosch, Breughel, Cranach, Mandyn, Memling, and Titian, Wallace Stevens’ “The Man on the Dump,” the innovations of Duchamp, Hamilton, and Warhol, Nancy Rubins’ assemblages, Kris Kuksi’s constructions, Vik Muniz’s trash collages, Doris Salcedo’s chairs, and the sculptures of Ghiberti, Maitani, and Bernini, among others.