In my practice, I explore issues related to visual perception and personal and historical memory, in the context of the everyday. Through writing and drawing, I aim for what Cormack McCarthy describes as “using symbolic marks to represent pieces of the world too small to see.” I make color pencil drawings, working with source materials, such as personal photographs and everyday artifacts. I follow a certain vibrational quality of my subjects, through tracing local color tone, and how that tone resonates and changes in various contexts. At first, these drawings may appear to be photorealistic renderings, but a second read reveals them to be interventions between daily moments and gestures. The representation in the drawings acts like a heat, that points past itself to become something else.
A series of photographic inkjet prints of my color pencil drawings becomes a series of translations through which the drawings can be seen in retrospect, from a fixed point of view. I present surface evidence, such as an accidental tear on the printed source photo, in the symmetrical shape of a butterfly. This happy accident is accepted and translated into the drawing and final photograph. Evidence being fragmentary, and document canonical, I am interested in evidence.
I am in the research stages for a project that retraces a family trip in 1972 Czechoslovakia, with a focus on place and memory, and that moment of life just before adolescence, where there's still magic and movement. During this time of great movement, I was literally moving, on a road trip with my family, driving across Europe.
This project is in support of a future publication, a creative non-fiction book of essays, tracing my cultural and artistic sensibilities alongside larger historical events in Eastern Europe in the Bolshevik era. I am interested to see how the truthful recounting of personal history, and considering the fluid nature of memory, can change a larger understanding of the historic occurrence, rendering larger histories in smaller truthful stories.
The output from this project extends to film, based on my photographs and memories from different eras in the Czech and Slovak Republics. This film collapses the scene of one incidental street moment, depicted in a photograph from a return trip to Eastern Europe. The working idea of this film situates within texture and movement that spark of unexpected poetic associations across time and subject matter. This single image points to my preoccupation with small, deliberately ahistorical events, many of them retaining the fascination of a time diffuse between past and present, further enhanced by the timelessness of the up-close interiority of this single image. It's my hope that the impression derived from the resulting film is a short-hand smash-up of my years spanning the Soviet and post-Soviet Czech and Slovak Republics, to present a heightened sense of how one relates to history, both personal and public, including in terms of certain kinds of mobility.
In the end, this work returns to the still image, its tonic center, as photographic moments are rescued from the film and these appear, as if from a restored film; to uncover a masterpiece. This process tracks an iterative practice of layered multiple segments and pieces, representing old and new, in a kind of collapse of time and matter, elegantly laid out and seemingly connected, but not touching, the gaps between galvanizing to form an irreducible whole, monstrous and elegant. Electric.