still from "wholey," projected image on spinning cylinder, 1999
statement
“I am interested in the experience of beauty and nature, botanicals and still-lives, as they are expressed through technology. I am looking for a new kind of sublime experience that results from the intersection or convergence of nature with technology, but isn’t directly about manipulating genes. It’s more about the ways in which humans experience nature more and more, through the mediation of the computer or television, and how that experience can be enjoyable, illuminating, and disturbing simultaneously. This is a kind of hybrid experience, the experience of nature through technology that touches on the sublime.”
My artwork is concerned with what happens when different rates of change collide - for instance, the timing of the seasons with the pace of technology. I employ techniques of film-style “special effects,” but to ends other than those of traditional narrative cinema. I focus on poetic possibilities in time-based media, an approach counter to the mainstream.
The moving images I create for installation often involve wall and floor projection, and sometimes sculptural elements. The real and virtual combine to form a hyperreal space. These composite images function symbolically and suggest internal states of the psyche.
Digital imaging and compositing are tools that allow me many options when exploring the blurry border between mental states, outward reality, and digital worlds. Dissolving the rectangular frame of reference in moving images -- the hard edge of the single window, the single point of view -- is important to me, as is integrating imagery into specific sites or with three-dimensional objects. To create an experience where the moving image is not only a "window into a world," but is an integrated, yet intimate, perceptual experience, is my goal.