Park View
November 16 – December 21, 2014

For this exhibition, Park View presented a new body of photographs structured into three parts, or volumes. The first suite of photographs, Volume I, are printed to the size and scale of images produced by a typical smartphone camera. Within the images, the body, particularly the hand wielding the camera phone as its extension, operates like a locus from which disposable, bargain-basement goods are détourned and aesthetic motifs are cannibalized (images take on looks or styles intended to resemble particular art-historical genres or contemporary art references). They are installed as one 8-by-6 grid of framed photographs in the show.

Compared to this group, the photographs of Volume II are larger in scale, less accidental or candid, and more straightforward in terms of subject matter. Like studied tableaux and still life's arranged based on color likeness or complements, the figures and grounds in these images have harmonious and streamlined relationships, taking on the characteristics of monochromes. They function literally and figuratively like "upscaled" versions of the earlier camera phone mages, performing the role of fine art photographs within the exhibition, and existing somewhere between images and props.

The works in Volume III are created through a multi-part layering process. I first made
chromogenic prints of advertisement and commercial displays captured on my phone then cut up and reassembles the print, and collages and draws in permanent ink marker over reassembled forms. They are then re-photographed, printed, and shown as flat works, trapping all of their
expressivity and counteracting self-control within the frame.