In my work, I am interested in scenarios of bifurcation and reconnection: sounds are fused to, or separated from objects; spaces are split apart, and then relinked; performative elements work with and against each other, undermining mythic and ritual systems while inventing new ones. These formal concerns provide ways of perceiving how people and objects can be both available and unavailable to themselves. They also allow for logical inversions: the performance of splitting can, in some cases, become a method of uniting things which on the surface seem contradictory.
Among other themes, I investigate patriarchy, the way it drags its privilege behind it, a weight blocking other kinds of futures with its fake inevitability. I try to engineer uncanny situations for it, where the blunt force of toxic masculinity encounters the impotence that defines the patriarch himself. My work explores this through the lens of my own personal identity as a white heterosexual male. As other artists deconstruct masculinity through the perspective of the LGBTQ experience, I work from my own heteronormativity to investigate the internal implications of the masculine and the seeming immovability of its structures. I’m interested in how often unconscious acts of oppression becomes the very force that leads to the impotence of the oppressor.
My work also focuses on the invention of ideology and how individuals justify conflicting beliefs within the context of a single world view. Research and invention are equally important here. Through the analysis of specific myths or religious beliefs, I look at how these real-world cultural views synergize. Using objects, sound, and performative elements as a means of interaction for these beliefs, I explore areas where conflict occurs between them and work toward manipulating the residue into newly invented scenarios. From here, something about individual or collective identity, identity beyond ideology, can come to the surface.
Having trained as a composer, I consider sound an equal partner to image and performance in each project. Visual elements unavoidably conjure sonic qualities in my practice, even if these can be decoupled. I explore how sound acts performatively, how it enhances and undermines the visual, setting up further inversions within the work. Sound produces its own bodies, generates feedback, becomes an organ or organ system. A digestive track, for instance, pulling out all that is useful and discarding the rest as waste.