There's No Time For This (with Tim Pittman at Project 4 Gallery) explores encryption, information overload, and deceipt in times of war.
The exhibition is a series of carefully coded works, some actually encrypted, designed to thwart shallow attempts at decipherment.
Authority, surveillance, criticism, taste-making, fear, and denial are common threads. Here, one of a series of so-called security blankets.
This hand-made cross-stitch of 250,000 stitches and 65 colors took over one year to create. Think technology, time, and reproduction.
LANDSAT1 is a group of photos of garbage organized by type to encrypt a paragraph of text. But who has the time to decode it?
Found photographs and texts, looping video, and a gym rope for climbing entertain and distract gallery goers from thinking too much.
There's No Time For This
explores information glut,
detachment and the surrender
of critical thinking.
explores information glut,
detachment and the surrender
of critical thinking.
I collaborated with Timothy Pittman on nearly every aspect of this installation. We each contributed work created independently as well as working together on a number of pieces. The key to the success of the installation was the degree of strategy that went into the curatorial aspect of its arrangement. Every facet was considered in relation to all others so that the resulting exhibition was a carefully orchestrated event underpinned by an exquisitely detailed latent mythology.
I use exhibition opportunities such as this, and my work as an artist in general, to research complex issues of communication and to explore and better understand the human condition. Much of my work as an artist feeds the very creative work I do as a designer. In fact, because my creative process revolves around research and is responsive to the specifics of a given context, I have found no practical reason to draw meaningful distinctions between my life as an artist and designer. The venues differ but the intention to create meaningful, provocative, and inspired communication is always present. My clients benefit from this fluidity and so do I.
I use exhibition opportunities such as this, and my work as an artist in general, to research complex issues of communication and to explore and better understand the human condition. Much of my work as an artist feeds the very creative work I do as a designer. In fact, because my creative process revolves around research and is responsive to the specifics of a given context, I have found no practical reason to draw meaningful distinctions between my life as an artist and designer. The venues differ but the intention to create meaningful, provocative, and inspired communication is always present. My clients benefit from this fluidity and so do I.