Conflating personal documentary, performative image-documents, photo-sculptural actions, found images, and more, 2004-Present abandons the elevation of authorial, stylistic uniformity typically found in a photographic series. Instead, the arc of discrete conceptual gestures, as an amalgam over time, propose expanded photography’s capability to bear witness. The disparate content and techniques in the project ask for a high level of reconciliation to create meanings for the viewer, and embrace rhizomatic tracings of (photographic) history.

Above Image:

Spilled Milk, 2014 (matte black, 5 mL; light black, 1.35 mL; light light black, 1.9 mL; yellow, 2.4 mL; orange, .1 mL; vivid light magenta, 3.6 mL; vivid magenta, .3 mL; green, .1 mL; light cyan, 1.7 mL; cyan, 1.55 mL)

Archival Epson pigment inks applied directly to wall. This debut iteration of the pigment ink spill technique is a deconstruction of Jeff Wall’s image “Milk” (1984) featuring the pigment inks needed to print the image at its exhibition size (189.2 x 229.2 cm). This photograph was highlighted by Wall in his 1989 essay “Photography and Liquid Intelligence,” which traces knowledge (as represented by images) as either “wet” or “dry” and thus implicitly historically-inclined (through water photography is connected to the past) or future-inclined (through technology photography is typically thought of as dry).

As installed at Nerman Museum, Overland Park, KS

2014