Statments & Essays

Mind is Meat is Machine

(circa 2007) The Mind is Meat is Machine print is an endeavor that took over two and a half years to complete. From June 2004 to January 2007 I worked on one piece. After years of resistance, I had finally began to show and sell my work. I was finally beginning to get some small amount of recognition. So I decided that I needed a challenge. At the time, I conceived of a massive montage that would contain 10,000 layers of photos. When I finished, I estimated this 8' x 12' to contain close to 28,000 layers. Ironically, because I misunderstood the resolution requirements of most printers, I inadvertently...

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Asian Characters and Other Concerns

(circa 2005) As many artists do, I have developed a cannon of repeated imagery that benchmark my style and my metaphoric theology. It would appear that the same questions inevitably pop into the minds of the viewer. I have decided to make a glossary of sorts, for those who feel that their own answers are unsatisfactory and need to hear it from the horses mouth. Some of the most commonly asked questions about my work have dealt with the asian characters placed in my prints. The symbols are a somewhat blunt metaphor for a state of unknowing a greater meaning. Signs and symbols which have meaning...

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Court of the Animal Gods

(circa 2003) When I first unveiled the Court of the Animal Gods I felt it was imperative NOT to have a statement directly referencing the series. To explain away what is meant to be an unexplainable narrative would be somewhat counter productive. But as I move on to other projects, I would rather write this after statement for people to reference than continue to field questions. I have always been fascinated with religious Parthenons and mythology. Greek Gods playing footsie with mortals, the native American coyote trickster stealing the moon, Catholic Saints enduring vicious tortures in order...

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Old School’s Contmept

(Circa 2002) The other day I was ease dropping. A well established artist was talking to an up and comer who was getting ready to enlarge some photos. She was thinking of enlarging them digitally. He was advising her not to. “Stick with tradition. It’s more cutting edge to avoid using new technology in your art because more and more people are starting to do it” he said. Another artist I spoke with once said she could never work digitally because the craft and texture of producing art with chemicals and enlargers and light tables was more “honest.” Both statements irritated me. They...

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Brave New World

(Artist statement circa 2001) Why?  Why bother with such a labor of  love? Because it's our world. After photography displaced traditional mediums as a primary form of recording reality, other art forms were freed to explore and detour away from stale portraits and public monuments. The fluidness of mediums like sculpture and painting allowed them to redefine themselves. Now the ability to work digitally with photographs has allowed that modicum of freedom for photography from it's own finality. I don't see myself as a digital artist or even a photomontage artist but more of a photographic...

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No Respect

(early artist statement circa 1999) Why? Why bother with such an labor of love? Because it is my belief that the beauty aesthetic in art is dead, or is at the very least, so open to interpretation that it can no longer be defined. Because sex, death, and violence are the only constants in our world, and in art, there is no where else to go. Because technology has only enhanced these urges, not advanced us beyond them as many would contend. These nightmare/fantasies are the very nature of who we are, as species, as animals, they are something we cannot escape. Because I don't like...

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