There is a curious deliverance to lamination, the process central to my work. Combined with the differentiation and re-assemblage of photographic images, lamination is both a repetition of, and a difference from, alienation. Parts of images go into the machine, get heated up, and come out enclosed, individualized, sealed off. Yet when combined with other similar strata they form a three-dimensional dreamscape, separate from and animated by the act of seeing.
My technique takes as its point of departure the photographic image isolated into its core subjects, whether those elements be objects, people, light or space. Once deciphered, I focus on how such elements can be rebuilt as sculpture, with depth and connection. My first method involves doing cut-outs of the image and tiering them to reference perspective. The second method involves using transparency film to achieve depth. Works using the cut-out method focus attention on seeing as subjective or, at the very least, a filtering. Works using the transparency method references how space positions, contains, and formulates of the act of seeing.
Floating, separate, but bound and connected by that which separates, the result is both serene and odd, an interruption to the economics of plastics that bind and seeing that is regimented. These works present a laminated love that, though not supreme, reminds us that within alienation there is always both an alien and a nation in flux.
The “Tiny Windows” series featured for the 2017 Hwy. 62 Art Tours consists photographs I’ve taken over the past 10 years (mostly in Joshua Tree, Los Angeles, and New York), presented as microscopic and three-dimensional dreamscapes of things I’ve seen.