As an artist who takes pictures, I feel obligated to document experiences that
describe our temporal nature, known more commonly as life. As humanity reaches
new heights of exploration, of discovery, creation and invention—some may argue
that today humans are better than the day before. Like the prescribed recipe for
evolution, we are designed to operate within social norms, to produce a better,
smarter, and stronger generation—for the betterment of mankind. I am interested
in illustrating this cycle of preservation, our attempts to remain fossilized in an
environment which will always prevail in our erasure.
I am jealous of those who believe in the afterlife. For those who do not
believe, we recognize that the true reality is consciously unbearable. A trip to
blissful heaven is a clever disguise for an eternity of nothingness, but better yet
proves to be an elegant example of checks and balances derived by those in power.
It is this idea that gives me anxiety; it is this idea that keeps me awake at night. My
art serves as a catharsis—freeing me from my fear of the inevitable.
Through contemporary photographic processes, the photograph operates as
a document to the performances that are shown before the camera. Viewers are
perceived as unaware voyeuristic participants of the bizarre rituals shown. My
performances, often including the manipulation of the body surface, become the art
itself. The fear of suffocation, the tangibility of the material, or the feeling of the
execution of an unknown action is what I find most interesting. Through the
photographic window, viewers are invited into these intimate illustrations of the
sublime.
describe our temporal nature, known more commonly as life. As humanity reaches
new heights of exploration, of discovery, creation and invention—some may argue
that today humans are better than the day before. Like the prescribed recipe for
evolution, we are designed to operate within social norms, to produce a better,
smarter, and stronger generation—for the betterment of mankind. I am interested
in illustrating this cycle of preservation, our attempts to remain fossilized in an
environment which will always prevail in our erasure.
I am jealous of those who believe in the afterlife. For those who do not
believe, we recognize that the true reality is consciously unbearable. A trip to
blissful heaven is a clever disguise for an eternity of nothingness, but better yet
proves to be an elegant example of checks and balances derived by those in power.
It is this idea that gives me anxiety; it is this idea that keeps me awake at night. My
art serves as a catharsis—freeing me from my fear of the inevitable.
Through contemporary photographic processes, the photograph operates as
a document to the performances that are shown before the camera. Viewers are
perceived as unaware voyeuristic participants of the bizarre rituals shown. My
performances, often including the manipulation of the body surface, become the art
itself. The fear of suffocation, the tangibility of the material, or the feeling of the
execution of an unknown action is what I find most interesting. Through the
photographic window, viewers are invited into these intimate illustrations of the
sublime.