I have for a long time identified as a collage artist. Much of my work in fact engages with the genre’s basic, literal elements–gluing fragments of paper onto a surface–but my ongoing interest stems more from the broader concepts that can be extrapolated from these elements: the ruptures that occur when something is removed from its context; the reactions that arise when it is grafted onto another system; how the “edges” of these interactions engender different results if they are smoothly cut or jaggedly torn, seamlessly integrated or bluntly repelling each other. I’ve explored collage through mixed media painting, photography, video, and installation projects that appropriate and reconfigure different materials and visual languages.
My collage work has slowly brought about an interest in gestalt psychology and theories of camouflage, among other things. I see thread of continuity between the aesthetics of collage and the functioning of camouflage in that they both seek to conflate a figure/ground experience on a basic visual level. Questions of conspicuous coloration and camouflage in my own work have centered around a notion that something can “stand out” visually and still evade or confound visual appearance. I want to make an image that both calls attention to itself and simultaneously “destroys the form”--some type of visual collapse, where a viewer encounters individual elements that direct their visual experience, without a cumulative resolution that allows that experience to settle into a total form.