Conflating personal documentary, performative image-documents, constructed/deconstructed imagery, photo-sculptural actions, and found images, this series, 2004-Present, denies the elevation of authorial, stylistic uniformity typically found in a photographic series. Instead, I create discrete conceptual gestures that, 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.
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