Index About Journal

october 17, 2019

progress of celestial gravity pulling at my body of water

august 4, 2019

information coded in light make its way to another

july 16, 2019

it's easy to think that not talking is somehow better, partly because of how quickly thoughts can grow, but also from internalizing over time that the only acceptable context for exposé is by way of some officiated / sanctioned / exclusive thing like an interview or q&a...not a great precedent if you actively work outside of institution or commercial industry, which have usually yielded both openly and quietly towards value systems and ideals i work against.

i want to believe that artwork is capable of becoming what a new viewer wants for themselves. explanation has felt like a surgical operation that left no room for error, accident, interpretation, or discovery. i write accompanying short poems which have felt more honest than explanation, especially as my videos age. additional writing can become an optional context that i make for my intentions and it may go a long way for allowing room for people to connect or relate emotionally in an endless collapse of passive and volatile archeology so i have been trying that lately.

nothing needs to function as ultimatum. things can be ever-changing, and the elasticity and space needed to do so is everywhere. there is no default and i can work towards a personal alternative against the quietly set precedents of market institutions. i think a body of work and all its orbital interactions become contextualized through payment for entry for the artist and viewer.

i think of my videos as noncommodity- unrepresented, inhabiting no space, non-displacing, made with the available room and resources, during after-hours of full-time work. an art practice is a sum of its socioeconomic conditions. if it's not an algorithm sculpting the format and aesthetic of your work it's the arbitrarily dictated guidelines and individual tastes of a curatorial or jury, which can often perpetuate a specific socioeconomic model for the arts in concurrence with the academic space. it sets specificity of who the audience is meant to be via capital.

may 10, 2019

navigating past and present clarity, ambiguity, towards a connection to another, withdrawal from connection to another

march 30, 2019

the shining rigid structure caved into its own assembled wreckage underneath and let light spill into the channel

december 26, 2018

thinking of a catscan of radiant warmth hidden in a corner quietly disappearing and reappearing