*CLICK ON ANY OF THE IMAGES FOR HIGH RESOLUTION PHOTOS*
Cardboard Cutout Installation Series is an examination of the in-between, or liminal spaces such as train stations, bus stops, subway terminals, etc. Spaces where one generally goes only to get somewhere else. However, liminality also represents chaos. Human beings in a liminal state are stripped of their social identity – they’ve fallen through the cracks, or simply disappear into the scenery as portrayed in the illusion of the strategically placed cardboard cutouts. These are also places where those from the edges of society will often seek shelter turning these spaces into places, but these places are also points on the edge – between what geographer Edward Relph refers to as existential insideness and outsideness.
1. Liminal Portrait 1 Photograph (Archival Ink Print) of Ink-Jet Print Mounted on Cardboard Photograph size: 12”x18”; Installation Size: 21”x74” 2009
Photograph size: 12”x18”; Installation Size: 20”x78”
2009
Photograph size: 12”x18”; Installation Size: 24”x78”
2009
Photograph size: 12”x18”; Installation Size: 23”x78”
2009
Strip Mall Landscape Series investigates the ecological transformation from space to place. In Space and Place, geographer Yi-Fu Tuan writes, “Place is security, space is freedom… planners would like to evoke a sense of place”. These photographs were taken at strip malls in that were recently built over portions of preservation or conservation land. The displaced subjects are token decorations – traces of the freedom of nature that once flourished in this space where the retail constructions now stand.
8”x12”
2009
2009 7. Market Basket Supermarket (Formerly Part of Muller Conservation Area, Burlington, MA) Photograph (Archival Ink Print)
8”x12”
2009
8”x12”
2009
New Irish Travellers Series represents crossroads in ambiguous times for immigrants in Ireland, who were the first to lose their jobs due to the global economic recession. These composites focus on displacement and a longing for placeless in a land that was never home to begin with. The subjects are unemployed immigrants from cities like Dublin, Galway, Limerick and Gort, and are digitally displaced into the picturesque countryside – shown wandering from village to village much like the traditional Irish Travellers of the margins of society.
8”x14”
2009
8”x14”
2009
Happy Endings Series goes beyond the understanding that the ‘real world’ doesn’t work the way romantic comedies end up 99.9% of the time. What lies at the heart of this series is the sudden altered sense of emotional and temporal placeness that occurs when relationships end. All of the shared memories take on new, painful (or possibly cathartic) emotions, as the end of the relationship begets the period of estrangement. These works converge the two points of a failed relationship: the point when the first exhilarating kiss or meeting takes place, and the point when the two partners vanish from each other’s life. All that is left are memories of times people generally would want to forget.
(Archival Ink-Jet Print)
9”x15”
2008 13. “Come Back And Make Up A Good-bye At Least. Let’s Pretend We Had One” Digital Image, Still from the film As Good As It Gets
(Archival Ink-Jet Print)
9”x15”
2008 14. “I Loved You On This Day. I Love This Memory” Video (Final Cut Pro, Photoshop)
Clip from the film You’ve Got Mail
46 Seconds
2008
Mediamnesia Series – First 100 Days comprises 100 different prints, each a composite of over 50 webshots of news websites for each day of Barack Obama’s ‘First 100 Days’ in office. It represents the bombardment and subsequent obscuring of information from competing editorializing news organizations from every point in the political spectrum. This was also included as part of the Mediamnesia Series, as it documents how stories are forgotten or buried from one day to the next.
14”x16”
2009
16. First 100 Days (March 22, 2009)
Digital Composite (Digital Pigment Print) #62 of 10014”x16”
2009
Mediamnesia Series focuses on the influence mass media has over how we receive and remember (or forget) news events. The Small Change video explores how the promise of change is nothing new, as it has been used in every presidential inaugural address since the 1960. The manipulation of the voices is displays how eerily ubiquitous and interchangeable the word is used as a promise at the beginning of each new administration.
The first Ongoing… composite began toward the end of 2008, when the media was paying very little attention to the War in Afghanistan. Though not nearly approaching the number of soldiers dying in Afghanistan than in Iraq, soldiers were still being killed in that region. This composite of 600 portraits of the fallen at the time (now 932 and counting) served as a reminder to the war that media forgot, and how sadly, with over 300 soldiers dying in 2009 their attention is back fully on Afghanistan. That is why in 2009 I started work on an even more ambitious composite consisting of currently 4351 portraits of those lost in Iraq, as the news media has begun to forget the ward in that region.
Br ak ng N ws is a multi-layered and deeply multi-themed video that, on the surface, subverts of contemporary media’s oversaturation, subliminal messaging, and lightning-pace snippets of no-attention-span news. More significant is the use of the video without the distraction of narration. It offers the viewer to experience the medium quite differently than that of the passive spectator of corporate brodcasts.
17. Small Change (Nine Presidential Inaugurations) Video (Final Cut Pro)1 Minute 26 Seconds
2009
18. Ongoing… 4351 Dead U.S. Soldiers in Iraq Digital Composite (Lambda Print)
19”x23”
2009-Ongoing
19. Ongoing… 943 Dead U.S. Soldiers in Afghanistan Digital Composite (Lambda Print)
19”x23”
2008-Ongoing 20. Br ak ng N ws Video (Premiere Pro, After Effects, Digieffects Artefact, Photoshop & Illustrator)
2 Minutes 40 Seconds (Full Version: 7 Minutes 49 Seconds) 2007
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