Everything all at once now (and then some).


The work is reference heavy, usually it is a bundle of intersecting references, observations and fascinations –ruminations on cultural waste products, in some form of container that is the work – The container may be a screen, a picture plane, a photograph, an object or a space with several of these things within it.

There is this semi-enigmatic thing the audience is presented with, something that unlocks or extends the work, and the rest is left there hanging. An extended pause. It used to be about going into this mediated world full of loops, grabbing a portion of it and freezing it, alerting attention to it as a fleeting cultural artifact. Now its more about never closing the loop. Outrunning the complete resolution of ideas by always mixing. Its about excess energy, waste, products, images, concepts.

It is also about clicks, pops, corrupted files, incomplete downloads, dusty old mixers and the relationship between a metal string and a magnet. A speaker and a sound. An input and an output. The dynamically moving intersection of production and consumption.

There is a filter though, a detached scanner, some colour leeches out in the studying. Some kind of granulation or additive synthesis thing happens. It is a melancholy embrace of the linear experience of time reflected via fragments cast out of the media-machine. Stretching out that fluidity into a slow doomy riff – that is a state, a room, a series of fragments, pieces on their own and pieces of a whole.