Bowline

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Surface Fluxes
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Basalt

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Helena

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Fissure Hold

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Occam's Razor

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Amid Ships

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Rock Flaws
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Hope Sail

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Fracture Path

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Holy Stones
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Larson C

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Atlantic Scar

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Dissolving Stones


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Moonraker 

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Conceivably, the ocean contains all time and all places, with the coastline delineating where the understood meets the unfathomable. It acts as a boundary, the line between where we walk and where we float. Standing at the edge is a way to become physically close to our point of origin—geologically, biologically, metaphysically. It is the terra incognita of the modern world. With every crash of a wave, the line of the coast as we know it changes; our data becomes obsolete instantaneously. Water changes state weather changes everything.


These works make use of a collapsed parking lot along the shoreline of coastal Massachusetts as its place of departure. The point of focus: the mutability of boundary and instability of surface. Asphalt and lines are ubiquitous in function. These lines that are meant to guide and create order become futile in function and ultimately, broken. This once stable surface becomes supple, mutable under the force of wind and water. Asphalt, a petroleum product, is reclaimed back to the depths of the earth.


Through this work, I am able to better understand our spiritual and corporeal connections to shifting boundaries and the information that constructs perception. By defying the edges and surface of the photograph through cutting, scanning and reconstructing, I create works that more closely resemble the experience of losing control of trusted and known spaces.


The idea to reconstruct images came from a frustration with the limits of the photographic frame and camera lens. The difference between photograph and gesture is unclear. By adding my own lines, I am able to question a familiar perception of formerly understood textures: photograph or photographed. The repetition of the repeated gesture of photographing fissures and reconstructing them fulfills my own compulsion to redefine wholeness. By reconstructing photographic imagery into new compositions, I am able to exert control where I had none. I use tape as an extension of the line, aware of its inevitable failure in holding pieces together. In painting the asphalt lining the coast, I collaborate with the sea in the reclamation of material.

Witness

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Coastlining 

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Sandy Fist

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Precipice 

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Oliver

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Right Whales 

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Badlands


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Drift Fence 

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New Breach


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Sextants for now

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Using Format