When making art I use a form of appropriation to source my images followed by a digital remixing to transform the pieces. My passion for art history drives the series in an attempt to collapse the idealized space and time that permeates these images and to integrate my artistic hand and perspective into the works. I use the physical interaction of my hand to alter the outcome of the final product, in the same ways a musician loops and alters the playback of an audio file distortions can occur, and authorship can be transposed. Through the use of slide scanning, which is the physical movement of an object being recorded by a scanner I could manipulate scenes and alter their relationship with space, time, volume and form, and create environments that feel grounded in reality because of their implied photographic nature, but the work instead takes the viewer to a space that is uncertain and has color bursting from its seams. This act creates repetitions in the iconicity of the work and forces the viewer to enter a state of perceptual vertigo. In many ways, I feel like a visual dj scratching and remixing iconic source images into their disrupted and fictional counterparts.
Through these interventions I trace real and imaginary contours, of sculptural objects and places out of time. The setting of my project is a psychic space that like the objects and images sourced from antiquity, cannot present themselves in a narrative way to the viewer. They exist in a turbulent flow of time, contrary to a laminar flow that could be described as our modern view of linear time. I see the raw potential in the image material to have their seams burst, and confines expand with unexpected color and forms that creates new hybrid images that vibrate between mediums, authors, and time.