2020
Install documentation: Printing Singles
4k video on free-standing monitor
3:28
dimensions variable.
2020
Proof (Destroyed after final use)
Inkjet Print
16 x 24”
Edition of 5 + 2AP
2020
Install: In Perfect Likeness (More than one and one-half in linear dimension)
Inkjet Print on Epson Luster Paper, Backdrop Stand
Print is 24” in width. Install dimensions variable.
Edition of 3
2020
Erase/Delete
Inkjet Print on Transparency, white paper.
12 x 16
Each printed in an edition of 5 + 2AP
2020
Untitl Washington Left the Page (xerox sequence, after ian Burn)
Looping animation
1:00
2022
the promise of security (mirrored)
single-sided inkjet print on inkjet transparency, frame, mirror
Each 8 x 10”, install dimensions variable
Edition of 3 + 2AP
2020
the promise of security (one-sided)
single-sided inkjet print on Epson Luster, light box.Print is displayed face-to-face, Image is seen through paper.
8 x 10 x 2”
left: detail, Right: install.
Edition of 3 + 2AP
On October 4th, 2019 I received an email from my employer’s legal team instructing me to physically and digitally destroy photographs made by my students depicting US currency. In a color-correcting and printing exercise, students scanned one-dollar notes and attempted to match the original. The prints, shiny on one side, thick, with EPSON watermarks on the back, made laughable substitutes for the bills that they sought to replicate. My students’ prints are copies, simulacrum, and reveal more to me about the nature of currency than the original bills. The directive I received, and the governing regulations surrounding counterfeit, completely ignore the material qualities of both the photographic print and of US currency. The federal crime of counterfeit is reduced to the reproduction of size and visual similitude.
In How to Make Money While Destroying Photographs, I ask, Which processes of replication destroy as they reproduce? I playfully interpret the acts of deletion and erasure required by law. Every print or digital file is destructed through the process. I create consecutive Xerox copies of one print until the bill becomes unrecognizable and digitally cut the images and prints. Ultimately, I shred and glitch the allegedly illegal images. The resulting works in this series are equal parts legal proof, physical photographic inquiry, interrogation of the state, and nod to the power of the simulacrum.
How to Make Money… University Gallery, Pittsburg, Kansas, 2022
**I haven’t made any money off of this work.
Install: WARNING (unwitting collaboration), 2023, Appropriated Panel (text on matboard), 7 x 10”. Edition of 5.
As a stipulation of my exhibition, five text panels were displayed around the gallery warning viewers about U.S. federal counterfeit law. They are now included in the work as an unwitting collaboration with the dean who’s directive began the project.