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