I am interested in the interplay between the virtual and the physical, the symbolic exchange between the mythic and the material. As a body immersed in a technological environment, I find it hard to disentangle my relationship to the world and the forms of media that translate it to me. I feel a sense of confusion, a simultaneous disillusionment and terrified wonder as a man with powers and knowledge the alchemists dreamed of, only to be adrift in the banal labyrinth of the suburban United States.
I use my material practice as a kind of orientation and way to explore these relationships and situations abstractly, non-rationally, ecologically. Wild-harvested and pit-fired clay act as a means of directly engaging with the earth as a starting point, moving through various forms of metalworking and digital fabrication techniques that contextualize my process in relation to historical and contemporary craft. My post-digital and interdisciplinary methods allows for an open and dynamic practice that uses materials, mediums and composition as vehicles for thought rather than means to an end.
In my role as a researcher in the biological sciences, I attempt to digitally capture living plants for archiving in biodiversity collections. Even in high resolution, moments of life are impossible to completely model. In recent digital works, these moments of representational collapse are expanded and emphasized to create navigable spaces born from these interstices.
Right now, I am asking questions like, Why do I relate the grind of labor and middle class dreams in capitalism to leveling up in an RPG?, How do pre-scientific technologies and epistemology shape my understanding of the digital world today?, How do I relate my work to a personal ecology and history?
Sacred Channels: The Archaic Illusion of Communication, Erich Hörl
De Anima, Aristotle
Faust, Johann Wolfgang von Goethe
America, Jean Baudrillard
Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means, Zielinski, Siegfried.