BASIC
BASIC is part of an ongoing series of hand-cut and stenciled paintings on reclaimed material. The pattern is an adaptation of UCP and is created using three blends of the same base color at differing gloss levels. Under certain lighting conditions the viewer can differentiate the subtle variance in gloss and the camouflage pattern advances and recedes accordingly.
Basic Diptych- 23" x 54" x 1½"
Basic Triptych- 23" x 78" x 1½"
Basic 2000-10 red - 23" x 23" x 1½"
Basic 2022-10 yellow - 23" x 23" x 1½"
Basic 2066-10 blue - 23" x 23" x 1½"
ANONYMOUS
ANONYMOUS is part of an ongoing series of hand-cut and stenciled paintings on reclaimed material. The pattern is an adaptation of UCP and is created using three blends of the same base color at differing gloss levels. Under certain lighting conditions the viewer can differentiate the subtle variance in gloss and the camouflage pattern advances and recedes accordingly. The name for the shade of grey I chose is both the title of this piece and the crafty intent of camouflage.
ANONYMOUS - 26" x 26" x 1½"
NotCoin- Cardboard prints
14" x 18" x ¼"
hand printed stencils on reclaimed cardboard.
14" x 18" x ¼"
hand printed stencils on reclaimed cardboard.
Ongoing insertion project: A low tech response to p2p "virtual" cryptocurrencies. NotCoin is a series of printed cardboard signs declaring a $5 value and inserted into public spaces anonymously. The idea is that by hand stenciling and detailing reclaimed cardboard I am imparting an arbitrarily chosen valuation of my time and effort. The admittedly lowbrow technique and finish is meant to eschew any sense of preciousness; a subtle contradiction to the declared worth of the sign. Initially it was my intention to distribute these signs to the homeless denizens of NYC, with the hope that the signs could become a p2p currency for those with no access to the global economy structures that are evolving and changing the perception and function of static currencies. However, I have as of yet found a non-exploitative manner to distribute said signs. My somewhat timorous solution is to place the signs in public spaces and allow people to react to them in their own manner, independent from my direction.
REFLECT
9" x 1¼"
cut black vinyl
cut black vinyl
Ongoing insertion project: The premise behind this piece is to create a dual awareness of both a physical and personal nature in one of the only public places where we are alone- the lavatory. In this city we are constantly surrounded by others, sharing this small island in a dense and intricate dance of social customs and practices. Often we feel a sense of disdain for outsiders who are not aware of the many layers of social norms that we adopt for our own safety and comfort. By recycling scrap vinyl signage material and placing the word REFLECT upon mirrors in many of the city's single-occupancy lavatories I try to enforce or instill a momentary reflection upon oneself, upon one of the only moments of being alone afforded in this urban landscape. Additionally, the word reflect refers to the physical properties of the mirror, which sees us all in our most tender moments.
Additionally, the use of vinyl signage was selected to be a non-harmful, easily removable form of graffiti. A gentle vandalism, which may be kept or peeled off at the discretion of the establishment. Of interesting note, the documentation of the individual lavatories was patently difficult; as there were often people in line to use the facilities and I had to get my total time in the bathroom down to less than 2 minutes. Additionally, the "smart" nature of my camera-phone makes focusing a frustrating practice, as the word reflect is optically floating and to focus the "background" means not focusing the text. All of this is meant to say that lavatories have little room to set up and take pictures, and I am not the finest photographer under time constraints.
It is possible this project will expand to other places, as I can only impact my immediate path in the world. If interested, please contact me to receive your own starter kit to insert REFLECT vinyl graffiti into your own city, provided you are willing to follow (or alter) a few requested guidelines.
Additionally, the use of vinyl signage was selected to be a non-harmful, easily removable form of graffiti. A gentle vandalism, which may be kept or peeled off at the discretion of the establishment. Of interesting note, the documentation of the individual lavatories was patently difficult; as there were often people in line to use the facilities and I had to get my total time in the bathroom down to less than 2 minutes. Additionally, the "smart" nature of my camera-phone makes focusing a frustrating practice, as the word reflect is optically floating and to focus the "background" means not focusing the text. All of this is meant to say that lavatories have little room to set up and take pictures, and I am not the finest photographer under time constraints.
It is possible this project will expand to other places, as I can only impact my immediate path in the world. If interested, please contact me to receive your own starter kit to insert REFLECT vinyl graffiti into your own city, provided you are willing to follow (or alter) a few requested guidelines.
Workspace
4" x 6" postcards inserted into retail locations
Insertion project: The premise behind Workspace Is to give visitors a piece of New York memorabilia that is a tongue-in-cheek comment on their/my view of the city. My job is not glamorous, it does not involve gorgeous sunsets and helicopters, glowing cityscapes and vibrant words flying in the sky. Yet the postcards we see at newsstands, bodegas and curiousity shops shows the places we live as an unreachable viewpoint, a single perfect moment that no one aside from the photographer has experienced (or will experience most likely). I sought to echo that singular viewpoint (to be collected and shown to others) by photographing my workspace and inserting the resultant postcards into their relevant retail environments. The copy on the back of the postcard explains that the image is a candid depiction of an actual functioning workspace, and as such reveals an often unseen aspect of life in the city.
By inserting the cards into their relevant retail establishments I seek to allow the venue to validate the artwork by treating it as a commodity. If a customer selects my postcard and purchases it, the retail establishment in question would profit with no financial output for the postcard, and the postcard would then shift from simply a lowbrow moment of my personal humor to a traded, collected piece of art; mirroring the similar process of validation through commodification that occurs in the world of fine art nearly universally.
By inserting the cards into their relevant retail establishments I seek to allow the venue to validate the artwork by treating it as a commodity. If a customer selects my postcard and purchases it, the retail establishment in question would profit with no financial output for the postcard, and the postcard would then shift from simply a lowbrow moment of my personal humor to a traded, collected piece of art; mirroring the similar process of validation through commodification that occurs in the world of fine art nearly universally.