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I make highly ornate, complex collages. My current source material is Vogue Magazine, which I cut up and rearrange into abstract patterned images. I begin with identical pages from a dozen copies of the same magazine and slice them into thin pieces. I glue the strips of paper to a panel. I then coat the surface with a coat of glossy, clear resin. I continue adding layers of resin and layers of paper, selectively covering areas beneath. The resulting object is a square-ish disc that has 15 to 20 alternating layers of resin and paper. They have rounded edges and a glossy surface. The works are heavy, up to 75 pounds, and they jut out from the wall three or four inches.
The effect of all the paper re-ordering is an undulating, Van-Gogh-meets-pixels kind of surface. The resulting image is divorced from its representational origins but not from its pater familias, the photograph. The photograph is disassembled, and like a DJ, I mix it, blur it, skip it, speed it up and slow it down. The works are a blend of micro and macro: a satellite image confused with a blown-up cellular structure. They are enormous maps, a view from a plane window, a Petri dish of cancers, worm holes, embroidery, mosaic, and starscapes.
The work is made from an abstract expressionist, painterly sensibility. Pop Art, Italian Futurism, African carving, Indian saris, and computer pixels are referenced. Various craft mediums that influence my process are stitching, quilting and mosaic. Also present is an interest in manadalas, rorshach ink blots, and repetitive meditation practices.
A boa constrictor eats its meal whole and lumpishly processes its nourishment. Deer have four stomachs. Whales filter thousands of gallons of sea water to obtain their tiny plankton diets. I also filter. I filter, sift, sieve, and edit my pop culture muse and the resulting product is fashioned from all the fragments.
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