CAN YOU SEE ME NOW
2018
My art practice follows a cyclical process of filling and emptying – of materials, of time, of myself. I am particularly concerned with this self – whether I’m myself or my selves, body or image – and how these entities are performed, split, and extended across the temporal planes of my lived present and virtual past. My work draws attention to the points at which my versions of self get caught between those planes, where my sense of embodiment becomes confused and my subjectivity disperses. My virtual self and I conjoin to create a new kind of zombie, where pixels and atoms are sutured together, flowing across multiple elsewheres and elsewhens, never knowing where to stop or how to become fixed within a single state. This collective work of time-based media questions the consequences of embedding myself into multiple platforms and timelines, for I’m no longer sure if I’m body or specter, here or there, now or then. We’re all just floating around through the digital ether, up in the Cloud (wherever that is).
Syncing, Digital Video, 00:13:26 (loop), 2018
Untitled (McLuhan Was Right), Digital Image, 2018
Untitled (Glitchcock Eyes), Cinemagraph, 00:30 (loop), 2018
, and another thing
2018
New Note, 04.22.18 // After three years of questioning of my selfhood — a deeply unsettling tic that set in somewhere between lying awake at 2:32am and trying to remember where I left my optimism — I’ve come back to flesh. My flesh, most likely. A convulsion of uncontrollable sighs and sitting alone in the dark wondering who “Ally” is anyway. You know what I mean? And another thing — I’ve finally stopped counting the ceiling tiles, but I did start grinding my teeth.
New Note, 04.22.18, Digital Video, 04:16, 2018
shift, 2018, Digital Video, 13:34, 2018 // a response to “Syncing” (2018)