Due to a scholarship, I spent eighteen months of 2007 and 2008 in Seoul, South Korea. I took one photo every day for my picture diary. Fishline was taken May 31st, 2008, in Seonyudo, a small island located twenty-six miles off the west coast of the country. Fish is dried like this everywhere in the countryside of Korea.
]]>Due to a scholarship, I spent eighteen months of 2007 and 2008 in Seoul, South Korea. I took one photo every day for my picture diary. Balloons was taken on May 3rd, 2008, in Busan, a city in the southeast of the country.
]]>In One Ear, Out the Other and Cascade seek to resolve the polarities of these conflicting forces.
]]>In One Ear, Out the Other and Cascade seek to resolve the polarities of these conflicting forces.
]]>My interest in memory is fueled by personal experience; my father has been diagnosed with a brain disorder that has left him with no short-term memory. Through his experience I have gained both an interest in and an appreciation for the mundane, and both short and long-term memories.
How much of our long-term memory is a sum of small insignificant events? Is this whole greater then the sum of its parts? How do short and long term memory influence each other? If short-term memory is lost, is it only a matter of time before we lose our long-term memory? When do our daily experiences transform into our recollections of the past? And ultimately, what is the impact of memory on our concept of our selves and our placement within the world? By abstracting and re-presenting these events through paint I have been able to hold on to a little longer, understand a little better, and have physical evidence of, my existence.
Three years to the day after I shot the first amnh image, I returned to the museum on a whim, curious to see if those silhouettes could still hold my interest. I came away just as enthralled by the power of a simple silhouette. I remain fascinated by the surreal mix of living and dead, real and artificial, human and animal, and by the whimsy and wistfulness suggested by such juxtapositions.
]]>Three years to the day after I shot the first amnh image, I returned to the museum on a whim, curious to see if those silhouettes could still hold my interest. I came away just as enthralled by the power of a simple silhouette. I remain fascinated by the surreal mix of living and dead, real and artificial, human and animal, and by the whimsy and wistfulness suggested by such juxtapositions.
]]>This edition is a result of this documentation.
]]>Although I knew that one day I would photograph my burgeoning collection, most sat along a shelf in my studio for more than a year before the work started. I finally decided to photograph them with a deep depth of field, revealing, as much as I could, their distinct identities.
This is an ongoing project.
]]>Although I knew that one day I would photograph my burgeoning collection, most sat along a shelf in my studio for more than a year before the work started. I finally decided to photograph them with a deep depth of field, revealing, as much as I could, their distinct identities.
This is an ongoing project.
]]>When I conceived this piece, I instead made it about the geometry of the field and the action that is constantly taking place. I had originally thought of making a diptych, the second painting identical to this one, but fast-forwarded to show what happened after the batter hit the pitched ball. I never did paint that second piece though.
]]>While the Babe barnstormed the world in the off-season and played one of his last games against the New York Cubans of the Negro Leagues, this portrait is purely hypothetical.
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