Printmaking, conceptual and installation art
Skygrids are time-based pixellation of the zenith sky over the course of several days. Each row is a single day, with each pixel representing the average color of the sky taken at specific intervals from sunup to sundown. The first day is at the top of the composite; the last day is at the bottom.
These pieces are based on the mathematical concept of a “drunkard’s walk”, a random pathway that, on the aggregate, moves out from the starting point at a rate equal to the size of the step times the square root of the number of steps. For myself, it is the automatic nature of the random process
In the spring of 2011, I applied the concept of the Motion Composite to my daily commute. I wore a camera around my neck and set it to take one photograph every minute. The morning commute started from the time I left the doorway of my home to the time I arrived at my desk
These are composite images created by averaging a particular set of images together. A composite of 70 handwriting samples: A gallery of various typefaces averaged together. A gallery of images created by averaging my glitch videos together.
These are composite photos taken as I travelled across the landscape by car or on foot. Multiple single stills were composited into a single image.
These are portraits of my fellow classmates in my low-residency MFA program, taken using infrared and ultraviolet images replacing the red and blue channels in a normal RGB photograph. This simulates what we might look like if the human eye could see these invisible wavelengths. My portrait is number 01.
This series substitutes infrared and ultraviolet images for the red and blue channels in a standard RGB photograph. This results in a false-color image that simulates what these scenes would look like if the human eye could see into these “invisible” wavelengths.
Composite images created by layering 64 images on top of each other.
This particular project came about because I was noticing more and more traffic cameras sprouting up in and around Austin, Texas in the late 2000. It’s amusing to stand in front of a bank camera or a building camera and take a picture of it, head-on. There’s a weird feeling of transgression. The eyeball at