invasive species 1 (adelgid), 2008
Ink on Matte Board, 8.125 x 9"
Precipitates began as an investigation into the apparent over population of bull kelp in the near-shore waters of British Columbia. Was there a causal relationship between global warming, rising sea temperatures, the loss of coastal environments and the prima facie abundance of bull kelp in the northern Pacific waters? On the contrary, bull kelp forest populations, with their preference for cold water conditions, will be adversely affected by the rising sea temperatures associated with global warming. The species, however, thrive in carbon dioxide rich environments, and the presence of higher levels of carbon dioxide could very well offset some of the negative impacts of increased water temperatures. These contradictory connections between cause and effect speak to the complex relationships between action and consequence, specific ecosystems and the environment as a whole.
Second Order Consequences is a current in process project developed from collected research on climate, the theory of differentiation, and evolution. The drawings and mixed media works explore memory in terms of cryoturbation (organic material that is slowly pushed below the surface of the active layer [ice] existing for ages in a state of suspended animation) and second-order consequences. The consequences of humans on the environment are exponential: we produce/use, the environment shifts significantly, species ways of life alter, the language we use is forced to adapt. These varied topics all lead to an inquiry into familiar sites and memory, specifically the environment and human biology.
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Elaborate Mythologies, 2005, Slip Cast Porcelain, Beaded Glass Tubes, Thread, Acrylic, 3 x 4 x 4'
Elaborate Mythologies is an investigation into information placement, memory, and response, created through the repetition and alteration of a unique form based on studies of nudibranchs and tunicate filters. Elaborate Mythologies is an interpretation of relationships: object to object, movement and intentionality, repetition and anomaly. The image is a culmination of studio experiments based on distinct biological forms that I associate with memory filtration, and the consequent movement through a space and time. The hundreds of slip cast porcelain forms with beaded glass tubules areresiduals of experience, sedimentary objects, markers of time and ritual.
Palimpsest (excerpts), 2005, Cast Paper Tiles, Beaded Glass Appendages, Thread, Plastic, Wax, Acrylic, 88 x 88 x 79”
Palimpsest (Excerpts) is an exploration into histories of information; the sources, translations, and inevitable continuation of communication we inherit and develop--be it in the form of biology, experience, or esoteric action. The development of Palimpsest began with a focus on the histories of a space; the gallery, like any environment or individual, is an accumulation of memories and experiences. I associate the gallery with a palimpsest, a document whose history is of numerous writings, with previous texts partially erased though still legible. Palimpsest (Excerpts) is a means to discuss the pull between a marked space and the facade of a sterilized environment, the relationship between human experience and the histories we isolate, both consciously and unconsciously. The cast paper tiles erupt with the flow of information of beaded glass appendages cascading onto the floor. The source of information cannot be traced back to one initial thought, moment, object, or point and begins to put forth a notion of circular information and experience. The expansion of the appendages is equivalent to the ebb of information through synapses. A constant flow can be inferred, through both the construct of the gallery and the work,bringing to question the origins, destination, and effect of the information.
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