In 2007 I began an exploration of physical, medium-based art works that commented on ephemeral, media-based experiences. The culmination of this path resulted in a solo exhibition titled gold code at Org.Contemporary Gallery in Detroit MI in 2009.
The application of paint on canvas paper, photographs and the body resulted in mixed media two-dimensional objects and performative videos. Conceptually speaking, the exhibition gold code exteriorized the inherently hidden structures of codes, through gestures, signs, silence and text(s).The color gold, predominant in all works, meant to simultaneously signify the precious nature of art and one's existence, the fragility of meaning and the lineage and symbology of this metal in the history of art. In 2010 I revisited this code series in the form of large scale urban billboards, which has continued to present time. The upcoming solo exhibition sign (Fall 2011) in Springfield OH, will bring these public works (back) into a gallery setting.
In the Summer of 2010 I completed a one-month artist residency at Residencia Corazon in La Plata BA Argentina. There I took on the use of American Sign Language (which was briefly explored in gold code), as the main trope for my works. Thus began the silver code series. Each day I followed a pattern of activities: write a note on Facebook, make a photographic self-portrait (also posted on Facebook)within the confines of the residency space, go for a walk for at least one hour each day to document via photography and video whatever stimulated me and draw one hand/letter from ASL on paper. Other works were also completed between these activities.
By the 26th day, when I ran out of letters, an exhibition was mounted in the gallery part of the residency building and opened to the public. Veinteséis featured drawing and photographic grids (arranged in the same format of a calendar), as well as a video drawing installation.
Upon my return to the United States I reorganized some of the data collected in Argentina (whose name, as well as the city La Plata's, directly reference the metal silver). I also started two paths of works, exemplified by LA PLATA (mixed media on canvas triptych), and TANGO (mixed media on paper panels with video projection), which will come together with other new works in a solo exhibition in 2012 in Notre Dame IN, provisionally titled argentium. Unlike the early pieces in the silver code series, which presented an actual exploration of space and culture, these new works will deal with the unseen, the unexperienced and the remembered exponents of my time there.
The aesthetics and techniques employed in both gold code and silver code still inspire me, but conceptually some of my interest are elsewhere. For this reason I opened up a new path of investigation called white code. White has always been a fascinating color to me because it embodies a paradox. The color white in subtractive color theory exemplifies lack (the absence of all pigments of colors), while in additive color theory white stands for abundance (the summation of all colors of light). As such, white code will embrace art works that exist somewhere between the gold and the silver, or elsewhere altogether.
What the future brings in my artistic endeavors is unknown to me. I will certainly include new color codes as new places, cultures, and experiences enter into my life.