iii. foliage
Working from algorithmically generated references in oil and pencil, I translate the slick, digital file into bodily labor, slowing the image down through sustained attention, steeping the image within a reservoir of time.
Each work is in effect a testimonial to the act of looking, grounded in indeterminacy and surrender, and frames attention itself as the primary aesthetic material.
The images I generate contain rapid, unstable color shifts that exceed human intuition. Copying them requires constant recalibration—changing color with nearly every stroke and entering a fugue-like state. The closest analogy is attempting to capture multiple waterfalls at once: motion without a stable focal point.
I’m driven by an impetus to produce physical works that carry weight, resistance, and permanence.
Each work is in effect a testimonial to the act of looking, grounded in indeterminacy and surrender, and frames attention itself as the primary aesthetic material.
The images I generate contain rapid, unstable color shifts that exceed human intuition. Copying them requires constant recalibration—changing color with nearly every stroke and entering a fugue-like state. The closest analogy is attempting to capture multiple waterfalls at once: motion without a stable focal point.
I’m driven by an impetus to produce physical works that carry weight, resistance, and permanence.