ARMOR D’AMORE / SERIAL MATERIAL 

it starts with the desire to design something to carry with, wear out in front or tucked inside layers. a presence in good times and bad. sometimes they are one-liners. sometimes they are elaborate signifying spells. protective boosters.
always there must be pleasure. the intimacy of cloth on body. the communication of clothing can circumvent tied tongues; colonized words. can step aside the pumped-up, linear and reduced.
and then it gets messy… fiber entangled with the length of supply chains, source-outing, unrequited extraction, cradle to grave pollution, invisible, disposed of dispossessed, ism's
onward. bit by bit. needs make livelihood. expression supports movement. movement heals. to be transitional, entangled, muddied, brave, awake and kind.

WE ARE NOT THE MACHINE BUT WE ARE NOT THE MACHINE.
WORK CREATES WORK.


Brooklyn, NY
2019


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the trouble with cell phone limbs and seamless skins

When I worked in offices in the first part of the 2000's, I created a painting series that dealt with deleterious effects of corporate environments on the human psyche. Along with venting my frustration over a flawed hierarchy, this work also helped me process the sense of impending doom and loss I felt as I was laid-off from job after job as technology replaced humans and corporate globalization projects placed profits above meaningful continuity.

I am currently confused and troubled by the amount of weight placed on ephemeral digital content. It troubles me that the staging grounds for this immaterial material are surveiled and moderated by obscured  benficiaries. Having been born in the mid 1970's, I feel as if I have one foot on the side of analog and one foot on the side of digital and non-linear technology. I try not to place a value judgement on either of these two sides, but I do feel that we will be in trouble if we forget our physicality and do not question how our new increasingly seamless digital skins have profoundly altered our collective experience.

This is why I am compelled to work with silkscreen printing. Starting a silkscreen plate from a digital file is a way for me to take the immaterial and process it .... to chew it up and spit it back out into the world in all it's unquantifiable physicality.

Brooklyn, NY
Winter 2015


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Office Paintings (RIP VILLAGE VOICE)
From 2002-2005 I worked in the Imaging Department at The Village Voice. During that time I witnessed the attrition of the iconic institution as new owners cut our unionized staff down to a skeleton-sized crew and replaced veteran writers with non-unionized transplants. Every Monday night it was my job to help QC the paper before it went to press. This involved waiting sometimes three or four hours well past midnight as the copy editors and writers finished their work and sent it down to us to have a final look. I often passed the time wandering around the empty office spaces. The floor beneath where I worked was a sad and beautiful graveyard, strewn with barren cubicles from a past time when the newspaper once thrived and made history. I was amazed at the physical amount of space and how vacant it was. I started making this painting series as a way to cope with the loss I felt for the newspaper and the paradigm of late 20th century office culture in all it's imperfections. Here is the statement I wrote in 2005. It is innocent in the face of our current collapse.

Technology has hijacked our reality. This Office Painting series is my response. These artworks explore the deleterious effects of computerized corporate environments on the human psyche. Appropriated scenes of conventionalized professionalism are recharged with implied—often seemingly inappropriate—emotions. The historically sterile rationality of the office and its archaic technology dissolves into a mundane and gaudy nightmare. The figures that inhabit these visions assume a soulless “narcotic gaze” in a desperate attempt to survive accelerating change in an imploding world. Racism, sexism and the dynamics of abusive hierarchical power linger just beneath the surface. Bright colors flood otherwise neutral spaces as linear perspective gives way to fragmented space and distorted shapes. Although made to address issues of contemporary society, my work is also autobiographical. Painting is, for me, a deliberate return to process—a practice that is often rendered obsolete by emerging technologies and the race for greater productivity and efficiency. 

Brooklyn, NY
2005 + 2015



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