Our power as makers, viewers, writers, and readers in the age of technological reproduction is made clear in the ways we access, re-contextualize, re-propose, re-imagine, and re-format information. Most of the source materials that I use are downloaded from the Web. Scanned images, photography, and film stills are used as well. I’m constantly searching, appropriating, capturing, uploading, and downloading. Source material is placed, erased, manipulated, degraded, layered, and transformed.
I am interested in how images, objects, and spaces embody narratives. Yet, what we see is not necessarily what we are being shown; looking, reading, and knowing happen in a complex network of positionality and potentiality. Thus, there are many narratives shifting and tossing in the unstable terrain of cultural and personal signification. Some narratives are inscribed, intended, or normative, others are alternative or transformative. In this way, images, objects, and spaces can support, destabilize, or neutralized us. We may be comforted or disturbed, empowered or disappeared.
Collage permits me to assemble quasi-identities, subtle and irreconcilable discrepancies, erotic provocations, and shifting viewpoints. Within these liminal, ambiguous, and symbolic spaces there are opportunities for discovery, introspection, and storytelling. The idea that cultural and personal narratives are part of a system or a network open to multiple authorship is expressed in the way the work is made, the way collage functions, and the ways in which we are mediated by the images, objects, and spaces we encounter in the world around us.