Inkjet on Awagami Inbe Thick, spraypaint. Folded and bound into 7 accordion books that expand to create a panoramic image.
Sunset Strips utilizes the accordion book format to create a fragmented picture of a vibrant, hyper-colored sunset. The workis a playful homage to Ed Ruscha’s accordion book, Every Building on the Sunset Strip. Like Ruscha’s book, Sunset Strips documents a specific place in time, compressed in the accordion form and transformed into a series of glimpses and fragments.
A lapse, a fold, a field
108” x 300” x 8”
Inkjet on Awagami Inbe Thin, folded and bound into 33 accordion books.
Sunset Strips III
40” x 65” x 4”
Inkjet on Kozo paper, handbound into 11 accordion books.
36” x 52” x 4”
Inkjet on Awagami Inbe Thick, spraypaint. Folded and bound into 11 accordion books that expand to create a panoramic image.
84” x 84” x 5”
Inkjet on Awagami Inbe Thick, spraypaint, folded and bound into 9 accordion books that expand to create a panoramic image.
With a specific interest in printmaking’s historic relationship to representation, in this work I gesture to humans' active role in constructing and idealizing landscape. Pushing against the notion that nature is/was pristine, wild, or untouched, Precipitous gestures to a “post-natural” relationship to landscape. Nature can no longer be seen as something set apart from humans but is instead something we fundamentally alter and continue to shape.
Precipitous is a collection of handbound accordion books that expand to create a life-sized panoramic image of a rising sea. As books, the works gesture to the authority of the encyclopedic and the cataloguing of natural specimens. As an installation, they dismantle sublime images through cuts, folds, and halftone dots.
The overlaid poems by Devon Wootten are appropriations from reports issued by the Intergovernmental Panel on Climate Change. The text draws on the language of the report, Climate Change and Water.
144” x 48” x 36”
Inkjet on Awagami Inbe Thin, folded and bound into 6 accordion books that expand to create a panoramic image. Housed in a slipcase box.
Implications is a series of accordion books that expand to create a panoramic image of icebergs in Iceland. The text simultaneously reads as both a poem (Risk[,] Event[,] Disaster) written by Devon Wootten and an official report on climate change, Special Report on Managing the Risks of Extreme Events and Disasters to Advance Climate Change Adaptation.
Working out of a long lineage of artists interested in the landscape, in this body of work I gesture to our active role in constructing and idealizing landscape. The installation aims to draw attention to the means of making such images by enlarging halftone dots and disrupting the image through folds, cuts, and ruptures.
Referencing 19th-century panoramas as well as the Romantic painting tradition, this work nods to a period when humans’ relationship to landscape was rapidly transformed. Similarly, today’s changing landscape demands that I examine the tension between my enjoyment of beautiful, idealized landscapes and an awareness of their ecological complexity.
120” x 84” x 12”
Inkjet on Awagami Inbe Thick, folded and bound into 15 accordion books that expand to create a panoramic image.
Screenprint on acrylic panels, c-clamps, spotlight.
This waterfall is falling for you draws attention to the ways in which our experience and expectations of nature are constructed. The work creates a beautiful image of a waterfall in Iceland while simultaneously revealing the photographic “trick” - the image is just a shadow projected on the wall. As viewers, we can understand and see how the image is being produced for us.
Build your own landscape
14” x 12” x 7”
Screenprint on acrylic panels, c-clamps, inkjet transparencies, spotlight.
The series Build your own landscape draws upon the tradition of 19th Century landscape photography. Referencing glass plate negatives, the printed acrylic plates project a shadowed image onto the wall, while additional elements like moons, clouds, and trees can be rearranged on the plate to create the perfect composition.