Asia in 1994, I brought a 35mm camera to document my experience.
Upon my return I realized that the images lacked the emotions of
the experience. The collection existed as limited pretty pictures.
In order to escape the limitations of the photograph, while resisting
the temporal reality of cinema, I began exploring a technique of
showing a rapid succession of images. This technique, to my discovery,
mimicked the way that memories are stored in the mind as an almost
of fragmented images of past events. Using this I could trigger
the audiences private memories of their own experiences and
even implant a few new ones. With this goal of recreating the how
the brain stores information as disassociated elements, I produce
sound and image combinations that stimulate and imitate the recollection
of an experience. Though this I am able to ensure a different experience
for each audience member, depending on what memories they already
brought with him or her to the performance.
use projection and digital electronics as my primary delivery media,
due to the ability of these tools to create a complex and large-scale
environments on a minimal budget. These tools allow me to explore
how the photographic image creates a virtual framework of an experience.
The result is as much about social dynamics in physical space, and
the audiences response as it is about the imagery and sound.
In addition, the complex systems that I use challenge my own views
of the presented work. Often the attempts to control the chaotic
array of wires and LCD screens leaves me with sweaty palms. My motivation
has a mad scientist element to it Im intrigued by what
takes place when potentially volatile elements are mixed together.
I get a thrill out of being the man at the controls the man
behind the curtain.
I develop my work varies from project to project. Generally I try
to build up a palette of photographs, video clips, and graphic illustrations.
I dont limit my use of media; in fact, learning a new technical
process is half the fun. If I can I also like to start with an abstract
concept based on a technical process, an experience, or a mental
picture, but it doesnt always work that way. From there I
allow the concept to evolve as I combine these mediums. Some ideas
have to be dropped and new ones emerge. Though I do as much as necessary
to define the parameters for the presentation ahead of time, chance
plays a large role in determining the final performance. A piece
is done after it is presented to an audience in real time.
work with, and constantly update, a custom made "visual instrument"
of slide and video projectors, developing the software interfaces
and user controls myself. I rely on computer technology as well
as obsolete and custom-built technology. These tools insure the
need to improvise. Each of these tools is intentionally constructed
to have an aesthetic of its own. This is why I prefer to use
slide projectors. They have a mechanical aspect to them, as well
as a visual clarity, not found in video. During a performance these
components take on the physical presence of a machine in operation
- a kinetic sculpture spewing out imagery. Through this technique
viewers can perceive the discreet steps of the animation process.
The sound of the projectors also creates a visceral aspect to the
performance. Each event is an original aesthetic creation that emerges
from a complex combination of sight, space and sound. This sort
of chaos leads to a completely original work each time a piece is
presented. The result is a unique and unreproducable experience.