Quiet Zone, 2014
66 x 64 in (168 x 162.5 cm)
Oil on canvas; performance intervention, Spokane, Washington
The “quiet zone” is the border around a QR (quick response) code that is required of recognition software to direct its users into the world of hyperlinks. This large canvas adopts this inherently digital language and transcribes it into the labor of art—thick with oil paint. It also functions as a relic from a performance intervention in Spokane, Washington in which (on two different occasions) a partner and I meandered through the streets and shops of downtown carrying the large painting and stopping to engage in conversation or to indulge in the snapping of its QR code. Reserving the ability to change the hyperlink’s destination allows for continued development of its conceptual connotations. The painting now resides in the Science and Technology Building at North Central High School in Spokane, Washington.
Ishi no Koe—voice of the stone—is a Japanese stonemason who sells gravestones embedded with QR codes. His concept is to allow visitors to view photos, videos and facts about the deceased simply by snapping the QR code. Each snap is automatically logged to allow friends and family to follow the visitations. Ishi’s hope is to “develop a new way to pay respect to the dead that wouldn’t require you to actually be at the cemetery in person.” If our current state of hyperreality dissuades us from visiting loved ones in the cemetery, why bother with visiting art in the gallery? Or books in the library? Where is there room for flesh and blood in a system infatuated with digital technology?
Quiet Zone, 2014 belongs to the permanent fine arts collection of North Central High School.
- October 2019 in Terrain 12 in Spokane, Washington
- June-July 2017 at Object Space in Spokane, Washington
- April 2014 in Pearl Wings at Luxe Ballroom in Spokane, Washington
First Born Son, 2014
232 signed and numbered 8.5 x 14 inch paper sheets
Wood, inkjet print and ink on colored paper
The 232 signed and numbered ink jet prints make up the embedded source code of a photograph of my infant son. Through codification, I metaphorically offered this embodied fragmentation to the viewer for $1 a page, eliciting the ancient mythic sacrifice of ones first born son and questioning the implications of technological mediation.
Magazine clippings, acrylic and lightswitch
- 2011 at Brews Bros. in Spokane, Washington
- 2012 at Bon Bon in Spokane, Washington
The Queen Ant's Clairvoyance, 2009
Installation, Fairhaven College, Bellingham, Washington
A colony of ants conquer a bubblegum picnic. The baby-pink space creates a fantasy world for the sugar-happy ants working in unison for the queen—their living deity. Their commune is the ultimate matriarchy. The queen sits above, inviting her drones to feast on the path to the omniscient crystal ball; it's an occasion one can visit only once in a lifetime.
“To those who attend today’s festivities…” a loud enthusiastic voice bellows from beyond the clouds, “…the word has spread that fate can be read if the queen is not forsaken, and with a haven for ants comes a gleeful dance so from the depths of the earth AWAKEN!”