The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
There is frost on the window; with my finger I trace a wavering, circling line. The window is a frame. The frost is a screen. My finger is a pen – as it draws a line it erases the foreground and now I can see beyond into the neighbor’s apartment.
Frames are generally invisible. Frames are meant to elevate an image or to protect it – both purposes are sentimental in a way that I can’t honestly relate to. I treat my images in an opposite way, casually assembling them and then cutting them apart. When I use frames, or make frames, I’m using them as a spatial allegory / a narrative metaphor / a philosophic tool. I’m using frames to create an interior and an exterior.
If a wall piece has a cut in the center, the wall behind it will become part of the piece. It could be any wall, but that wall, no matter which one it is, becomes implicated in the artwork.
Part photo, part sculpture, my artwork is an attempt to expand space and to bar entry. I use scissors, scanners, digital erasers and jigsaws to break apart images and deny story.
My work uses digital systems to reference material processes. The wavy shapes reference vector shapes that mimic the kinds of circling, erasing or scribbling gestures made with fingers. The images are enlarged scans of quick-gesture paintings and found photographs. In Photoshop, I layer images or paint over them with digital spray paint. Then I print the images directly onto the wooden shapes with an inkjet printer.
My work values perceptual failures and contains real boundaries: literally walls, windows and frames that serve as entry points or that limit access.