COLD STORAGE, 2015

Digital video projection
3:24 (looping)
The video, Knights of the Sky, depicts a small planet populated by sand dunes in a barren landscape. The camera mimics the first person point of view common to video games and moves ever so subtly as if hand-held as the camera circumnavigates the lonely planet. Once every cycle (3 ½ min) a small orbiting satellite can be seen falling from the upper right of the frame and disappears behind the dunes. The satellite is of ambiguous origin and material, but is suggestive of a human presence no longer visible within the frame. The Desert interests me because it is in many ways a virtual landscape. Everything slows down and opens up in the barren environment. The empty space allows for the projection of military fantasies and wild enactments of psychedelic ritual. The dunes are shaped by the winds and are contentedly reconfiguring themselves as they roam the landscape.

Powder coated steel, polyester resin cast,
acrylic mirror, media player
66 x 12 x 12 in.
2015
The sculpture, N-O U-N-R-E-A-L T-H-I-N-G E-X-I-S-T-S, utilizes a direct cast of my fist that sits on top of a two-way mirror with a screen underneath. The screen is playing a video showing the ‘reflection’ of the hand using American Sign Language to spell out no unreal thing exits. I made the virtual model for the animation from a plaster cast of my hand that I scanned using a laser 3D scanner. The sculptural form attempts to blur the boundaries between screen and object, drawing inspiration from Mirror Therapy apparatus designed to treat Phantom Limb Syndrome.

Polyurethane foam, plaster, acrylic paint
(CNC routed from stock 3d model)
18 x 10 x 10 in.
2015
The rock forms of, A FALLEN PIXEL, represent a complete cycle of anonymous and physically distributed production. I was interested in the ways current technologies aid in the realization of purely imagined things and wanted to circumscribe the physical realization of these digital apparitions. I like that an anonymous other would have sat in front of a screen and used managed electronic impulses within the machine to virtually manifest what in many ways could be considered a hallucination. Networks of metal culled up from the earth connect me to them and allow me to download the virtual product of their labor for free. I sent that product over the same network to a CNC machine that translated the virtual into physical reality. The marks of the hand left in the plaster covering reflect a human interface layer that is becoming increasingly obsolete. The paint ‘re-skins’ the physical object in the way the screen ‘skins’ bio-digital translation.