My work deals heavily with the idea of absence. I generate a lot of work only to remove the actual subject by literally cutting it out. What remains are two-dimensional fragments, drawings, photocopies, and photographs, with specifically shaped voids. This body of work first began with a series of casual portrait photographs that had all the people removed. Instead of the photograph serving as a kind of referent for a time and space, the removed space takes on a more potent resonance than would have the actual person. In this shift of the photograph from acting as a document of a person, I was accentuating the physicality of the photograph, forcing an exposure of the fa?�ade of photographic space while also asking if these negatives still acted at portraits.
From this, I have continued to work within the framework of the fragment and the negative. I find that there is a certain drama that comes about through the destruction of the whole. I am fascinated with the link of infinite possibilities that can come from the fracturing of piece to create a new one that can then be fractured in turn. As such, there is a kind of overarching narrative to all of my work simply through this connection of process and similar aesthetic.
Through this notion of process, in the pulling and removal of a subject from a whole, there becomes a rhythm and fluidity in these acts of repetition. I have found that through this organization, this compression and piling; the process causes the repetitive act to turn into a moment of stasis. I hope to explode this tension in pushing the ephemerality of a pile and the reliance of the material on itself in order for stack to maintain shape.