My visual artwork is the theoretical framing that supports my social practice; the complimentary relationship of visual and social practices addresses contemporary society as a set of social relations mediated largely by images.
My latest paintings in the Marks series investigate appropriation as a strategy that resists the recuperative operations of capitalism. Through this work, I attempt to discover how radical forms of communication or community can function without being exploited, and ask whether something can exist invisibly in an age of surveillance and spectacle. In these works, I photo-realistically reproduce famous painterly marks like Claude Monet’s Water Lilies, and Furukawa Taiko’s Zen paintings in watercolor and graphite. The uniqueness of the original images is perverted through my reproduction of them, and yet my own individual mark is safely hidden behind iconic reference; they explore the process by which subversion can be achieved without exposure.
The Landscape series explores the phenomenological foundations of visual representation. These drawings reflect on the ways in which bodily orientation, and the symmetries and patterns of nature are present in various written and symbolic forms. Here, and in most of my work, I undertake a process of painstaking repetition in order to emphasize the instability of reproductive systems.