Studio updates, current events, and archival posts from 2014-2018.


MEGALOPOLIS : 2016-2019 in-progress studio work — image © 2016 iPhone 6.

MEGALOPOLIS: 2016-2019 in-progress studio work — image © 2016 iPhone 6.

Craft is the essence of my entire practice. It forms the backbone upon which I build the rubrics of extended research trajectories exploring highly conceptual, experiential forays into the meaning of existence as I understand it. If these pursuits are an active body, then craft is the DNA that binds my activities at the core.

I work with light in many forms but concentrate most frequently on a medium commonly called “neon.” This assumption is a misnomer by definition since this medium incorporates the use of five noble gasses that include helium, neon, argon, krypton, and xenon. Each one of these elements shares an essential property of illumination, but each expresses this shared attribute in complementary, sometimes conflicting, ways. To harness this light, one has to work with a breadth of expertise ranging from chemistry, physics, engineering, and an open-ended sense of DIY discovery. These pursuits culminate into a honed, handmade craft-driven pathway that generates the primary constituents of my work: electrified glass tubes filled with gas that produce an effusive glow.

This fundamental process has mostly remained unchanged since the early 1900’s, yet it continuously yields plethoras of expansion within my practice. I view the foundation of my medium of choice as a tipping point that brackets the tech-noir ecosystem we inhabit end to end. Without the discovery of illuminated glass tubes, silicon-based memory storage and screen interfaces possibly would have never existed. Similarly, the distance between an illuminated narrative-driven medium such as “neon” and virtual reality is shorter than it seems. My work crisscrosses these seemingly disparate crafts from both points and seeks to examine the positive, negative, and contingent effects of the permeable borders we as humans traverse daily.

A craft is a generative solution rather than a means to end — a mapping technique that makes temporal meaning the moment it’s necessary to penetrate a set of problems whose conditions seem to change instantly. While our shared sense of reality accelerates with quantum speed, I view craft not only as a historically informed pursuit but as one of the only essential areas of knowledge further instilled, built upon, and adapted in tandem to this splintering increase in velocity.

Ultimately, craft functions like a spiral with the past, present, and future collapsed into each other. Whether one is bound to a consistently specific approach or meanders lines of physical material manipulation with chaotic trend-chasing impunity, we always return to form, function, and the feeling both aesthetics produce. Otherwise, we’re just spinning in untethered time searching for a reason to live. 

The spring, summer, and fall are filling up with a multitude of projects, events, and exhibitions — follow me on Instagram and watch this year's team-driven, DIY process unfold.