The hidden geometry behind events as common as a dripping faucet or a moving cloud is what the new mentality of chaos dynamics brings forth. For us moderns, it is this edge between chaos and order that is most fascinating, and we search for just the right spot where a momentary stability can provide us with the apparent ground that allows us to surf-ride the turbulent wave to our personal goal; but as we stand suspended on that translucent ground, we are given a moment to see into the ground, we are given a moment to see into the groundlessness of all seemingly solid waves, from the solar system to the circulation of the foam on the earth’s magma that we foolishly call tectonic plates. Excerpt from Imaginary Landscape by William Irwin Thompson

 What ties these artists together is their interest in universal reflexivity expressed in the everyday. Their investigation in reflexivity ranges from body to landscape to inanimate object. These relationships are cyclical and infinitely expanding, incorporating new items into its oeuvre. Reflexivity acknowledges that there is a continued exchange that oscillates between various proposed identifications and between cause and effect. Our world is occupied by impressions, shadows and reflections that when brought together provide a more convincing reality.

It is important to remember that analogous structures and patterns exist in all aspects of life. This scope is expressed and reciprocated in forms of government, development of cities, routines of life, passing time, etc.

An amalgamation of fragmented memory, taxonomy of life’s accumulation, the fabrication of future landscapes.


Artist Statement

" most recent project employs a variety of narratives within the central context of a 'coming-of-age' story. these narratives utilize musical, intuitive and emotive threads in order to enact an experience; in this case, a kind of vignette/collage of people engaged in addict culture. the story takes place in California, and the landscape is very important to these poems. in some cases, features of the landscape become characters themselves, a consequence of the strangeness and familiarity of being stuck in a physical, mental or spiritual space. the stark realism becomes a kind of crack in the dam, allowing surreality to slowly supplant the experience of the speaker. the poems employ a strict economy of language in their examination of excess, a necessary paradox - there is a prevalent anxiety, here, that if a granule of control is lost, then all is lost. many of the poems are elegies, and I think a central question this manuscript asks is, "where do we bury our dead?" the people, the places, or vestigial parts of ourselves that we let go (or continue to hold on to, despite knowing or wanting better)..."


Artist Statement

All my work begins with the collection and cataloguing of images, mostly objects making up day-to-day life. Many of these objects involve maintenance, storage, waste disposal, food and marking time. My labor-intensive process of miniature painting is in service of creating intimacy and slowing down the act of looking. In my cut paper work, I install paintings directly into walls with pins, creating structures straddling 2D and 3D. When the paintings are suspended in a kind of limbo they make the perspective with which they are viewed important, creating tension around flatness and a subtle architecture of shadows. The paintings are also floating in space on some level, playfully evoking a kind of suspended animation and referencing specimens.  


Artist Statement

My work is focused on the conflict between human progress and the natural world. It looks at the impact of a changing climate on human systems as well as our impact on ecosystems. The battleground where nature and technology clash is often a landscape, but it can also be the human figure, as we invite new forms of augmentation and preservation. In addition to documenting the conflicts of our time, I am interested in what can be built from them. In describing our changing world, I draw on the strong bone-structures of myths and archetypes that have helped many generations make sense of their own.

The figures in my recent paintings are encased in glass. The work harkens back to the Snow White tale while looking forward to our increasing dependency on technology to preserve us. I am interested in how science is our generation’s Elixir of Life. The screen has become our dominant lens. The figures behind glass are both a part of their environment and separate from it. Animated and static.

“Our fairy tales also have their roots in this prehistoric darkness, and the hidden geometry that survives in them is not simply the obvious stuff of phallic symbols and devouring maws but a lost cosmology of correspondences that connect the flowers to the stars.” – William Irwin Thompson``