About the Art in Jump Cut

I make drawings and large, site specific installations which are also drawings. In the former, I use ink, collage, and an exaggerated, often frantic comic visual language to make three dimensional images which both allude to and frustrate traditional pictorial space. Dense, baroque, intertwined compositions are a challenge to navigate and present multiple points of emphasis simultaneously. Double sided drawings which are then folded, cut into, or popped out, yield continuous imagery which can never be fully accessed or understood at once. Strategic layering and images of holes, spotlights, screens, and nets reference obfuscation, misdirection, and artifice. With these structural and symbolic motifs, I mean to suggest difficulties of navigating the contemporary world as an individual – particularly in the face of overwhelming systemic disfunction and the suspicious and contested nature of information.

The latter installation works often begin as anecdotal moments either recorded or observed as I explore the city around me. They are (usually) composed of hundreds of quick, gestural acrylic and flashe paint sketches made with a fat brush that are then cut and collaged onto both built armatures and the existing surfaces of a space; these are sometimes further animated with embedded lighting. The effect is somewhere between a comic book and a stage set. I mean for these works to enfold the viewer in a graphic space that resists the hierarchical, fixed, singular viewpoints of perspectival representation, offering instead a dense, heterogenous space that can be navigated any number of ways, moving and pulsing, much like the city milieus that inspire them.