Artist Statement

The work is a game of telephone.

It’s a print of a scan of a drawing of a textile,
or maybe a scan of a drawing of a scan of a print of a drawing.

Translation makes the work.
It goes physical to digital to physical to digital.
Material becomes image. Image becomes material.

The work is about structure,
which takes the form of:
window / door / building
parallels / perpendiculars / grid
geometry / textile / etc.

The work is about manipulating structure.
The work is about tearing / warping / pulling
stretching / overlapping / crushing / distorting.

The work is about looking at a fence
through another fence.
It is the forward motion of
a scanner’s beam,
weft after weft
driving past trees --
to name a few.

Every image is a tool for making another image.

So it’s moiré. It’s repetition. It’s distortion.
Sometimes it’s mapmaking, and
sometimes it’s blueprints for sound.

Think visual noise.
Think static, and feedback.
Think of the beating vibration caused
by rolling down your window
on the highway.

The work is about time, and time
makes the work. Like this:

Scan a drawing, and move
the drawing around on the scanner bed.
The scanner puts the image in motion,
puts the image through time.

Now you have a digital drawing,
a still of an image in motion.
Carve it into wood. Etch it into copper.
Give it physicality again,
give it back its material body.

Then scan it again. Print it
again. Tear it into little pieces and
weave it into itself.

The image is never finished.
Everything is a tool for making
something else.

The work is a game of telephone.