In my work, I explore post-internet imagery in relationship to prehistoric processes and

materials. For example, the design goal of 1970’s wallpaper is to be so symmetrical and

repetitive that it becomes invisible, not demanding attention. I screen print these appropriated

wall-paper designs as colorless adhesive and blow dirt based pigment on them referencing the

sort of techniques utilized in cave drawings. The materials of prehistory allow the human hand

to make errors subverting the machine perfection associated with these designs. Thus

celebrating the inherent flaws of the human hand and also drawing upon similarities in human

behavior that span thousand-year gaps.

The images from the internet I explore are born of the immediacy of modern technology.

Inversely, engaging with natural resources takes time that becomes a ritual assigning value and

almost meditative or spiritual like qualities to my work. Hand-foraged materials often command

a kind of value reserved for images of the sacred such as European red ocher being for paintings

of martyrs blood or Japanese indigo being for fabrics of spiritual importance. My goal is to

compose unsacred compositions realized with sacred material. The result is a certain kind of

absurdity that I seek out and labor over like religious iconography