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.
In my work, I use a visual language which calls on the immateriality of abstract painting, an abstracted use of photographic material, and the spatial strangeness of flat digital color. The finished pieces (c-prints; videos; performance-screenings incorporating video, text, and sound) elude physicality. They hint at a tangible real world but, in part because they are assembled digitally, remain in a place of phenomenal, subjective experience. At the root of my work is the merging of this “real” space — taken from my observations, photographs, recordings, and scans of rocks and ice in specific landscapes — with an intangible and non-pictorial one informed by abstract painting, contemporary physics, and the digital.
The photographic material I use comes from landscapes that interest me, which I have visited: rocky, icy, or salty terrain in, typically, barren northern or desert places. These landscapes are more geological (or hydrological) than biological, and they evidence earthly processes: manifestations of the physical systems and laws that determine the visible “real world” we live on. The images are my own; I take photographs of natural land or ice formations, videos of moving water, and I collect rocks to scan. [In the case of a specific project I will use imagery I’ve sought out online, but this is an exception.] I then combine them with gestural marks drawn directly into Photoshop, and work to create a picture plane that shifts between depth and flatness, confuses solids and “empty” space (and the natural with the digital), and hangs in a suspended balance right on the line between stillness and motion.
As crucial as the landscapes are to these pictures, the work itself isn’t about the landscapes. I takes cues from abstract painting and, by way of digital mark- and image-making, transform these very physical landscapes into something more ephemeral and elusive: into sublime speculations; into spaces governed more by quantum physics and color fields than geology; into pictures which layer gesture and landscape, and natural and digital color, in the flat, yet vast, expanse of digital space. What do rocks have to do with density, how do islands relate to emptiness and the high desert to negative space, and what does empty space have to do with solid form? The work relies on the specificity its elements provide, but uses it only as a suggestion of something real in order to anchor an experience that is, ultimately, intuitive and experiential.