artist's statement
Collage isn’t only a methodology but is a philosophical approach to making art. I like working in the spaces between things. In doing so, I discover meaning which no single thing itself can adequately convey. This is because everything in the world exists only in relation to something else.
Juxtaposing images allows for considering opposites simultaneously: high art and popular culture, East and West, text and image, representation and abstraction; camp and the deadly serious exist side by side. Even my titles are linguistic hybrids; invented words composed of parts from different languages and different roots.
I use materials that are manufactured and materials that come from the natural world. Found images and fictional images function as signifiers of both individual and collective experience.
It is important to me that my work refuses to hierarchize the traditional “fine” arts over the “applied” arts, to privilege western over eastern society or to honor the hand-drawn over the digital.
Pervading the work with its constantly moving compositions is a persistent anxiety over the state of the environment and global politics, as well as my deep ambivalence towards technology. There is constant tension between East and West and political alliances continually shift and change. Meanwhile, we sit in front of a computer screen: its infinitely repeating text and images are like the snow on television, like waves on the ocean, like the cosmos, bits and pieces of reality slipping by as we slouch toward annihilation.
Collage isn’t only a methodology but is a philosophical approach to making art. I like working in the spaces between things. In doing so, I discover meaning which no single thing itself can adequately convey. This is because everything in the world exists only in relation to something else.
Juxtaposing images allows for considering opposites simultaneously: high art and popular culture, East and West, text and image, representation and abstraction; camp and the deadly serious exist side by side. Even my titles are linguistic hybrids; invented words composed of parts from different languages and different roots.
I use materials that are manufactured and materials that come from the natural world. Found images and fictional images function as signifiers of both individual and collective experience.
It is important to me that my work refuses to hierarchize the traditional “fine” arts over the “applied” arts, to privilege western over eastern society or to honor the hand-drawn over the digital.
Pervading the work with its constantly moving compositions is a persistent anxiety over the state of the environment and global politics, as well as my deep ambivalence towards technology. There is constant tension between East and West and political alliances continually shift and change. Meanwhile, we sit in front of a computer screen: its infinitely repeating text and images are like the snow on television, like waves on the ocean, like the cosmos, bits and pieces of reality slipping by as we slouch toward annihilation.