Artist Registry
The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
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STATEMENT OF WORK
Our languages connect us.
My focus is abstract visual language. I bridge gaps between verbal writing and its visual calligraphic counterparts through asemic writing (a kind of mark making that reflects writing but has no semantic value) and drawing. I draw sentences and paragraphs, poems and sound, as well as abstract comics and graphic novellas. In conjunction with my drawings I have created numerous visual artist's books, both one-of-a-kind and commercially printed.
My current work, 'Today's paper', is a series of prints and drawings (and eventually an installation and book) that conveys some of the anxiety and agitation, perplexity and blankness that 'news' triggers in me. In this project, dimensions are variable, and different iterations have already occurred. Though the project itself is on-going, it is as unstable as news is.
Backstory:
When I realized that news had become a steady companion (the way a fly buzzing around my head would be a companion), I began to delve into it, into the subject of news, rather than the content. What IS news? My method of delving manifests in visual rather than verbal acts. Newspapers, their physical presence, resonate deeply with me. They have always occupied the edges of places - homes and hotel lobbies, train stations, libraries, cafes, you name it. Of course newspapers are a dying breed but this is not about that. This work references print and can be looked at as drawings and also read as visual poems. The boundary between looking and reading is permeable. For me, visually locating the present moment (today is always today) is a grounding device in the chaotic swirling of passing time. Paper is my preferred material.
Altered books. Interventions.
A finished book is a plot of private property owned by itself. To enter this private space with the intent of changing it, disturbing its calm ( a closed book is calm, printed pages are like well planted fields of grain) is trespassing. My altered book series are trespassages. Using copies and proofs of my own printed works, I re-enter them with a fist full of mark making implements and an open agenda. It is a game, a negotiation between an apparently finalized position and ensuing potentialities.