The advancement of exploratory mediums to form new modes of representation functions as one of the many implicit links merging art and science into my current work. As a studio artist, orchestral composer, and professor of violin technique and theory, I am constantly challenged with deconstructing complex systems, both mechanical and theoretical, in order to gain new insights into understanding and reinterpreting larger conceptual strategies, the modes of articulation and concert, the nature of sight through optical complication, and the iconic decay of vision through time. Drawing from perceptual experience as both creator and pedagogue, I am confronted with the constant desire to generate new modes of representation which isolate and expose certain aspects of sensory perception to the benefit of both creative conceptualization and the interplay between process and analysis.
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2009-2010 selected works, project links below:
Visual decomposition: compartment 1
Thinking of the human visual system as a complex matrix of time-limited interactions, which are constantly decoding meaning in the action of sight, I wanted
The Third Book
These pieces are single exposures made possible by the first digital camera I designed and built, which is nearly three feet across, makes an absolutely horrible noise, and has enough copper in it to make about 2000 pennies.
Maunder Minimum
I created a number of artificial retinas on which images can be focused to address iconic decay as an unperceived aspect of sight. These carefully arranged elements have been developed into a device which can only “see” afterimages, presenting an aesthetic world of imagery beyond our conscious view.
Art of Tone
The Art of Tone is a visual approach to the granular synthesis of sight and the very nature of particles specific to our perspective in space and time
Secondary Refuse
There is an inextricable link between the perspective of human engagement and the reaction of unseen forces. Secondary Refuse is a project that began at
Resonant environment: active planetary systems
Through the use of microwave and radio transmissions, manipulated by musical compositions, I compose living organic matter orchestrated through the manipulation of frequency.
Sculpting Plasma
I engineered and built a 12 cubic foot vacuum particle accelerator with a power grid running at 300,000 V made from discarded television components, and a 10,000-watt stepped-up magnetron series. It is a photographic platform with which I have the freedom and flexibility to address a variety of natural mediums at the molecular level.