Installation shots from a solo exhibition at Co-Lab Projects in East Austin, these images show four main works and a human hair donation station.

Exploring ruins, mourning, monument, energy and cultural architecture, this exhibition used mixed media to examine certain rituals and approaches to dealing with change, both communal and in our physical beings. During the run of the exhibition, I sat in a tent outside in character, making a community hair wheel out of donated human hair locks that people left at a cutting station in the gallery. The final piece was displayed for the closing night, as a memorial to this community of people unknown to one another, but bonded by a vague interest in conceptual art.

2012

Flash:Light, a division of Nuit Blanche New York, asked a variety of artists to contribute to Let Us Make Cake, part of the Festival of Ideas for The New City. We were commissioned to transform a model of The New Museum in downtown with our own artistic concerns in mind, which was edited and subsequently projected onto the museum itself in downtown Manhattan.

As part of the annual Bring To Light festival, I was commissioned to fabricate two of my signs from the Alchemical Marquet series to show outdoors in Brooklyn. The duo, lit in cautionary red and yellow, mixes chemical compounds, alchemy, occult elements and hobo chalk markings to construct a message of vitriolic warning.

Both 2011

On May Day, I staged an interactive performance at the NuMu warehouse in Bushwick, casting myself as a human maypole. The ceremony involved ashes, salt, nudity, assistance, a composed soundtrack, braids, ribbons and nerve. I am interested in live performance especially because of the energy that comes from the great potential for failure.

2010

The Armature of Three Spheres is an installation and film that I made while on residency in Skagastrond, Iceland that was shown at Vox Populi Gallery. These staged production stills show three archetypal characters on a non-linear journey, representing the ideological battles of the creative spirit. The piece serves as a psychological mirror for the viewer, whose own portrait is composed through the recognition and projection onto the characters. All the prints are Chromogenic Prints, taken with a Toyo 4x5 Field Camera on location.

2011

A photographic series that was developed in response to issues with the medium of photography, the Palimpsest series are documents of private performances. The analog prints use both found and my own negatives, layered and exposed individually, to paint with photography in a traditional color darkroom. Burned and dodged by hand and with the physicality of my body, the unique single editions address historical sediment and possess a certain spiritualism that transcends the limitations of the photographic medium. All printed analog and with film negatives, 16x20 and 30x40.

2009

A single channel video installation, I filmed this in and around the desert of Phoenix, Arizona, where I grew up. I created a cosmological environment inhabited with only teenagers and the elderly, who interact with little speech and only a hodgepodge of references or knowledge. Storyboarded as a post-apocalyptic non-linear narrative, the video revolves around political standoffs, karma, religious fragmentation, games, communal force and cyclical patterns, all designed to displace yet enliven the viewer.

2008

I made this short video for final night of the Index Festival in New York, curated by Victoria Keddie, which showcases artists who use live sound with moving visuals. I showed Nachtraglichkeit (NightFeverNightFever) accompanied by Bradford Reed interpreting the visual element on drums and percussion.

2011

Inspired by tableau vivant and discouraged by the opportunism of photography, these staged images were made as a response to my artistic concerns and as a path on which all the experiences of my life converged into an artmaking practice. Taken over a period of five years, the photographs use friends and family to create my own cosmology from allegories, ritual and remnants of folklore. All the images were made with analog cameras, some medium format, and printed by hand in the color darkroom.

2005-2009