The things I make are perverted ideas of real solutions…but I am obsessed with problem solving and why some things are attended to and others are not… These inventions may not be about solutions, but about questions, about seeing things to be done and saying let me do it, about wondering if irony still has a place in a world of unmanned drones, spray on tans, and reality television. Concerning my practice with ‘invention’ allows me to make work that addresses economic and environmental crisis from a funny, critical, fatalistic, and industrious point of view. Within these works the viewer will find advertising, questionable science, obsessiveness, paranoid ramblings, and genuine concern laced in humor. By making I find my own version of beauty, of defiance, of Do-It-Yourself resourcefulness.
I am a filmmaker and artist with a background in psychology studies. My video works move in the borderland between video art, documentary and experimental film. My main interest lies in the study of the processes of identity and consciousness. This initially led to studying psychopathologies where identity is destroyed and replaced, or to reflections on death and memory loss, where the self disappears. In recent years my attention has focused on the perception and the notion of landscape, with a special attention towards the environmental influence of human development. This view carries an animistic conception of nature with a main interest in the contemplation and pursuit of the sublime. Along this way around the study of perception, consciousness and image, the discovery of the philosopher Henri Bergson and especially his concept of dureé (“duration”) has been decisive. Stating that during a very intense experience, external time stops while the internal time of our introspective experience expands in our mind. I have most recently been working around this idea of altered time and space.
I am many things: a virtual cross country explorer, a comedic performance enthusiast, sheep shearer, social experimentalist, ex-shoplifter and one of People Magazine’s 50 most eligible bachelors. My projects engage in a dialog with a diverse range of subjects including entertainment, advertising, architectural environments, commerce and the quest for daily meaning. I am constantly making lists of potential inventions, neologisms, moneymaking schemes, jokes, drawings, websites, characters and impromptu videos. It is my hope that my work speaks to “the moment,” reflects and critiques American idealism, expansionism, and capitalism; that it might parody pop culture so successfully it becomes re-appropriated by it.
l have constructed what I need, and what I don’t know. There are currently no walls in this project: there are panels stacked and stored and moved around to make space for us. My experiences in farming, agriculture and teaching have built shapes for me to work with as an artist. Painting, to me, is a valuable practical tool and a space to tacitly merge dimensions visually, physically, and conceptually. It is a practice and a medium that necessitates the presence of both spiritual and physical contact in the creation of a space. Writing has become a textural, routine, supplementary component to my work. I am interested in the human set-up and its natural attachment to painting, and I have found that in order to investigate this fully, I must make my work in a rural environment where experience and relationships are rooted in primal detail and instinct.
Images above are from left to right video still Into the Origin by Lois Patino, performance The Recessionator by Marc Horowitz, top right Rising Water Improvised Rescue Device by Colin Matthes, and bottom right mantlepiece setup by Susie Tarnowicz.