I am a visual artist, teacher, and writer. I explore the world with curiosity and contribute to it through imagination. Cognitive models of space and time fascinate me. I wonder at how we create them, how we use them, and especially how we translate them between dimensional and experiential zones. The three-dimensional environment can be understood in a two-dimensional map. A two-dimensional image can become a four-dimensional cinematic animation. A film, play, or hike in the woods can cross over from real-time encounter to the realm of memory. In all of these translations, information, texture, nuance, and qualia are lost and gained. What excites me is that we are able to trace the connections between related models in different zones at all. This portable, flexible, vigorous, and above all imaginative modeling of the world is, in my view, the engine that drives all creative and cultural production. As an artist, teacher, and writer, I continually imagine and re-imagine my own models of the world, often capturing a record of the process in the images, videos, sculptures, lessons, and reviews that I create.
The first spark of my interest in spatio-temporal models and their portability from one dimensional scheme to another was at age 10 when I discovered that two-dimensional drawings I made could be compelling representations of the three-dimensional subjects upon which they were based. This was particularly satisfying in the case of portraits, where a living, moving person seemed to be present in some way through the marks I made on paper. In graduate school, I explored 2D mapping of three-dimensional solids, and began using sound to incorporate the zone of memory and dimension of time in my sculptural installations. Studies of architecture, math, and film have added to my skills as a maker while expanding my conceptual frameworks for understanding my own models of the world and the models of those around me.
Currently, my work as an artist focuses on portraits and an expansive series of rule-based drawings, sculptures, and prints tracing endless transformations of the grid. I seek to make a positive contribution to my community through both bodies of work. The portraits are a way to bear meaningful witness to those who may feel invisible or disregarded by virtue of their social position, identity, health, or other factors. The grid-based work I hope to bring into public spaces as large-scale sculpture. My new home of Louisville, Kentucky provides many opportunities to make such contributions, and I look forward to living and working here for many years.