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As an artist, I am particularly interested in the interconnected quality of our lives in an era characterized by a growing reliance on global relations, social networking, and economic exchange. I work both independently and collaboratively, having been a member of the new media art collective C5 for ten years. During that time we investigated individuals' relationships to technology, and technology's relationship to culture through data visualization, installation, performance expedition, and visual media.
Our most recent work explored landscape via Geographic Information Systems, as a means for predicting future movement over terrain, as a method of transcribing memory geographically, and as a means for investigating the emotional and technological relationship to topography. Perfect View (the project I supervised) and largely produced), is one of four projects within C5's Landscape Initiative suite. It examines the notion of ‘sublime’ by juxtaposing photographic documentation with aerial satellite imagery and computer-generated reconstructions of specific locations in the U.S. considered to be sublime. Analogous Landscape and Other Path, two other projects from the Landscape Initiative, utilize the potential of data transposition to derive meaning from landscapes by applying data acquired from previously hiked terrain. These ideas are represented in installations using video, sculpture, and photography.
As an artist and photographer, I am particularly interested in the interconnected nature of our lives in contemporary society with its growing reliance on global connections, social networks, and economic dependencies. I work both independently and as a member of the new media art collective C5, which investigates our relationship to technology, and technology's relationship to culture through data visualization, installation, performance expedition, photography, and video.
| A principal concern in my personal work is the relationship between economics and daily life, and the way in which the importance and necessity of success in financially driven societies inform ethics, values, and personal goals and psychology. The pressure of sustaining a certain standard of living often generates a low-level, consuming anxiety that sometimes goes undetected until a crisis tips the scales, and at other times manifests in continuous exasperation, be it subtle or palpable. In my photography I strive to capture and create moments in which the interrelation between economic structures and the psychology of the individual finds its expression.
My current photographs in the White Collar series address the material and immaterial qualities of life in urban financial districts. Collectively they describe a scene that is both sophisticated and troubled in its architectures of grand entranceways and towering facades, and the moments of perplexity revealing themselves in the expressions of the people inhabiting and functioning within the environment. The visual language of these pieces has roots in both documentary photography and Pictorialism. In some cases a captured facial expression or quizzical pose speak for themselves. In other cases, the turbulence beneath the surface is conveyed using a montage of imagery derived from both still and video cameras. As a body of work, the photographs strive to convey a complex world of wealth and sacrifice, satisfaction, and disillusionment. |