Through videos, prints, and paintings my work explores manifestations of love and sanctioned violence in the public consciousness. As a catalyst I look at what has captured the attention of the masses, and what is collectively and deeply felt.  My videos are the primary driver behind my practice, pulling from world events both historical and contemporary, and mining pop culture, politics, and environmental disasters for subject matter.  My prints are isolated video stills which come across largely as abstractions, with the content imbedded within highly pixilated and deconstructed form.  Finally, my paintings are purely abstract, taking cues from the form, color, and movement of the prints. 

When creating the videos, I use appropriated material, eliminating the context and presenting the content in a severely reductive manner, which often abstracts the subject beyond recognition.  This abstraction allows the viewer to bring her own associations to the piece, and I find, for example, that a piece about celebration can be interpreted as being about pain.  This fluidity between intense opposing emotional states is a particular focus of my work, as I find that when emotions are experienced in the extreme, positive and negative associations fall away and the sensation is simply overwhelming.  This is particularly the case when an emotional experience is shared with multitudes of people. 

Repetition is another element of my work, which I use to mimic the internal emotional state, where emotions are experienced in a cyclical, nonlinear way. My videos have the same content appearing over and over, distorted in different ways so that it is different but familiar.  I also layer the video clips over one another, both to reiterate the content and also to dislocate it, so that it reveals itself slowly but is not immediately recognizable.  Color is another important element of my recent work.  The different video channels are colored in brilliant hues that have no relation to the content being portrayed; I am intentionally imbuing ugly imagery with beauty, thereby aestheticizing difficult subject matter and distancing the appearance from the content. 

I have been working to bring a sculptural element to the presentation of the multichannel videos, expanding the pieces beyond the rectangular box of a video projection.  When displayed, I use multiple projectors that project on top of one another, each showing multiple channels themselves.  The channels layer, appearing and disappearing in different locations, always changing their combinations and configurations.  The result is a patchwork that breaks out of the grid, creating an organic and evolving shape. 

The trajectory of my studio practice begins with appropriated content from real-world events, and moves into a more abstracted realm of prints, created from video stills.  These prints can function independently from the videos, in that they are not reliant on context or narrative.  These prints then become fodder for my paintings, which are a distillation of the content, energy, color, and form that began with the videos.  The move from slow to fast, and digital appropriation to the hand is an important part of my process.  It allows me to see from a variety of angles and to approach my work in multiples ways, so it is never static but always morphing into the next iteration. 

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