PORTFOLIO

Portfolio of Works

Artist Statement PDF


Dunites

Documentation Video from Solo Exhibition
Gallery NAGA, Boston, September 2018

Includes 4K video, photographs, 35mm slides and 360-video installation.

This is my current research topic. In addition to the works exhibited in the video documentation above, a feature-length experimental documentary film and a publication of a book of photographic work are in progress.

Project Statement

My current multi-modal work in progress (2018-present), working title Shed on Passive Sands, uses news media; YouTube and public television programming, references to modernist photography by Ansel Adams and Edward Weston; popular folklore stories and songs; and streamed footage from public hearings to consider the current politically divided and environmentally threatened landscape of the coastal Oceano Dunes (one hour north of Santa Barbara, CA). I aim to pull up the history of this place from beneath the surface to populate the Dune site with a more profound sense of place and meaning, but also as a point of departure for conversation on the issues that extend far beyond this specific place. While the Oceano Dunes often appear as an empty, shifting landscape, through video, photography and virtual reality, my research weaves the rich histories of inhabitants spanning over 12,000 years – from the expunged Native American inhabitants, Cecil B. DeMille’s buried (and recently partially excavated) Ten Commandments ancient Egyptian film set, the proto-hippie squatters called the Dunites of the 1930’s, to the present-day ATV riders tearing up endangered species and polluting the air.

Selected Press

Podcast interview with Lana Z Caplan discussing this project
Exhibition Review on What Will You Remember


Autopoiesis

7:19, 4K video, 2019

Film Description

Autopoiesis (2019) is a short experimental film made with content sourced from the internet – clips of screen-recorded footage and sound, such as ski jumpers from the 2018 PyeongChang Winter Olympics, divers from Leni Riefenstahl’s film Olympia of the 1936 Berlin Olympics, self-hypnosis how-to videos, and Sun-Ra’s album Space is the Place. The video also includes overlays of text of current political and activist hashtags. As written in a review by arts writer and artist Heather Kapplow, “Autopoiesis intertwines complex ideas of utopia—Sun Ra’s speculative new black colony in outer space, Hitler’s Aryan nation, and the promise of a better world through hashtag activism—then counters it all by positing the impossibility of retreating or advancing, as the present moment is constantly buffeted with the darkness and struggle of current events.” I am responsible for all parts of production including sourcing and recording all the footage, editing and sound.

Selected Screenings

– Anarchivia (Mexico City, March 2019)
– ECHOFLUXX 19 (Prague, May 2019)
– AXW Film Festival, Anthology Film Archives (NYC, July 2019)
– VASTLAB Experimental Film Festival (Los Angeles, September 2019)
– Antimatter [media art] (Victoria, BC, October 2019)
– Transient Visions Festival of the Moving Image (Johnson City, NY, October 2019)
– Other Cinema (San Francisco, November 2019)
– Stuttgarter Filmwinter (Stuttgart, January 2020)
– Portland Underground Film Festival (Portland, OR, January 2020)
– Space Time Event Series (San Diego, CA, January 2020)
– Experimental Response Cinema @ Museum of Human Achievement (Austin, TX, January 2020)
– Cosmic Rays Film Festival (Chapel Hill, NC, March 2020)
– That One Film Festival (Livestream, September 2020)
– 27th Annual Chicago Underground Film Festival (Livestream, November 2020)
– Marseille Underground Film and Music Festival (Marseille, France, November 2021)


Patches of Snow in July

8:19, HD video, 2017

Film Description

Encompassing themes of media manipulation and environmental greed, Patches of Snow in July (2017) began as a reaction to the 2016 Presidential election. Mythology, religious fanaticism, climate deniers, environmental profiteers, natural disasters, and the end of radio, are reflected by a morphing landscape, poised for new devastation. Footage includes images I recorded of the Maui volcano Haleakala paired with a soundscape of collected audio simulating turning the dial on a radio, catching news and music clips. I am responsible for all parts of production including cinematography, editing and sound.

Selected Screenings

– Alchemy Film and Moving Image Festival (Hawick, Scotland, May 2018)
– The Vast Lab (Los Angeles, May 2018)
– Microscope Gallery (Brooklyn, May 2018)
– Chicago Underground Film Festival (Chicago, June 2018)
– OpenEyes FilmFest (Marburg, Germany, July 2018)
– San Diego Underground Film Festival (August 2018)
– Festival des Cinémas Différents et Expérimentaux de Paris (October 2018)
– Antimatter [media art] (Victoria, BC, October 2018)
– Other Cinema (San Francisco, CA, October 2018)
– Kassel DokFest (Kassel, Germany, November 2018)
– Anarchivia (Mexico City, March 2019)
– AWAC Consciousness of Changing Climate (Berlin, July 2019)
– CineAutopsia – Festival de Cine Experimental de Bogotá (August 2019)
– Canyon Cinema Salon (San Francisco, November 2019)
– Royal Scottish Academy (Edinburgh, December 2019 – January 2020)
– Portland Underground Film Festival (Portland, OR, January 2020)

Selected Press

Critical essay on L’emergere del possibile about Patches of Snow in July


Maelstroms

7:40, HD video, 2015

Film Description

Maelstroms (2015) uses animation, heat sensitive camera footage from US border patrol screens, military bombing drone monitors, and other collected footage, in a mediation on the dehumanizing use of image technology to control borders by land, air and sea. Maelstroms won the Audience Award at CROSSROADS Film Festival in San Francisco and has been included in numerous exhibitions and festivals around the world including the Museum of Contemporary Art Tucson.

Festivalist.com Review
“a harrowingly intense look at how modern surveillance imaging creates a dehumanizing gaze. The film cuts between US border-patrol footage, drone footage, and various other forms of surveillance, all of which are presented in disconcerting shades of grey, like a negative transfer. a harrowingly intense look at how modern surveillance imaging creates a dehumanizing gaze. The film cuts between US border-patrol footage, drone footage, and various other forms of surveillance, all of which are presented in disconcerting shades of grey, like a negative transfer. ” Rohan Berry Crickmar, festivalists.com

Selected Screenings

*Winner of Audience Choice Award* CROSSROADS 2016 (San Francisco, April 2016)
– Anthology Film Archives, Another Experiment by Women Film Festival (NY, NY, Feb 2016)
– Microscope Gallery Event Series (Brooklyn NY, October 2016)
– San Diego Underground Film Festival (San Diego, Nov 2016)
– Havana Film Festival (Havana, Cuba, December 2016)
– Alchemy Film and Moving Image Festival (Hawick, Scotland, March 2017)
– Montreal Underground Film Festival (Montreal, May 2017)
– Chicago Underground Film Festival (Chicago, June 2017)
– Currents New Media Festival (Santa Fe, NM, June 2017)
– WDNX Festival of Moving Image (Winnipeg, October 2017)
– Museum of Contemporary Art Tucson (Tucson, AZ, October – December 2017)
– Experimental Response Cinema (Austin, TX, January 2018)
– That One Film Festival (Muncie, IN, April 2018)
– The Vast Lab (Los Angeles, July 2018)
– Other Cinema (San Francisco, October 2018)
– Revolutions per Minute Festival (Boston, February 2019)
– Anarchivia (Mexico City, March 2019)
– Pleasure Dome Screening Series (Toronto, December 2019)
– Royal Scottish Academy (Edinburgh, December 2019 – January 2020)
– LABOCINE Magazine, Unequal States, Issue 48, (July 2020)
– RhizomeDC Microcinema (August 2020)


The Loveliest Mountain of China

Installation Documentation, 2014

3 – 40″ televisions vertically wall-mounted
3 – computers
2 – wall-mounted horn speakers
Total running time of loop in installation: 45 minutes
color, HD, sound

Project Description

The three-channel video installation The Loveliest Mountain of China was filmed in the popular tourist destination Huangshan, China and installed in Beijing at the Inside Out Art Museum. This work lays bare the bones of the participatory documentary medium, deconstructing narrative film production modalities, and presents them across a wall space on three screens simultaneously. Comprised of three vertically hung monitors – one with interviews, one of fixed camera landscape views and one of “B-roll” of tourists posing in front of the mountain, a self-reflexive epi-narrative unfolds between the screens with an awareness of the illusion of ethnographic representation, gaps in translation, and the complexities of the politics of land use. The ecological impact of tourism and the illusion of transcendence is approached through the voices and perspectives of people who inhabit and visit – the locals and the tourists – the picturesque landscape of Huangshan (Yellow Mountain).

ARTnews Review
The Loveliest Mountain in China was described in a review of the work in ARTnews Magazine – “one monitor shows the Hunagshan mountains from several vantage points during shifting light and weather.  The next monitor displays tourists posing for pictures on a scenic overlook, and the third focus on people in the Huangshan tourism business – including porters, hotel employees and a local artist – explaining their impressions of the location where they earn a living.  Change is a constant: clouds hide the sun, gusts stir branches and ponytails, cell phones ring.  Caplan’s video highlights just how disparate experiences of the same spot can be, juxtaposing the magnificent spectacle of towering peaks with the bustle of tourism and the realties of everyday life. ” Joanne Sliver, ARTnews


SHED ON PASSIVE SANDS

Click on thumbnail to expand image

After Weston
After Weston
Black Rider
Black Rider
Chumash Basket at the Mission Museum, San Luis Obispo, CA
Chumash Basket at the Mission Museum, San Luis Obispo, CA
Hillside Tattoos
Hillside Tattoos
Training Wheels
Training Wheels
Chumash Arrowheads at the Mission Museum, San Luis Obispo, CA
Chumash Arrowheads at the Mission Museum, San Luis Obispo, CA
American Family 2
American Family 2
Hitchhikers
Hitchhikers
Chumash Necklaces (in hand) at the Mission Museum, San Luis Obispo, CA
Chumash Necklaces (in hand) at the Mission Museum, San Luis Obispo, CA
Sphinx Torso at the Dunes Center, Guadalupe, CA
Sphinx Torso at the Dunes Center, Guadalupe, CA
American Family 3
American Family 3
Aerial Campers
Aerial Campers
Camper with Boards
Camper with Boards
Teenager 1
Teenager 1
For Sale
For Sale
Fire
Fire
Chumash Elder Joe Talugon at the Guadalupe Cultural Center, Guadalupe, CA
Chumash Elder Joe Talugon at the Guadalupe Cultural Center, Guadalupe, CA
Night
Night
Solar One-Wheel
Solar One-Wheel
Three Motorcycles
Three Motorcycles
Kids with Dune Buggy
Kids with Dune Buggy
Dust Circles
Dust Circles
Placard at the Mission Museum, San Luis Obispo, CA
Placard at the Mission Museum, San Luis Obispo, CA
General Store
General Store
Chumash Necklaces at the Mission Museum, San Luis Obispo, CA
Chumash Necklaces at the Mission Museum, San Luis Obispo, CA
Placard at Gavin's Cabin, Oceano Depot, Oceano, CA
Placard at Gavin's Cabin, Oceano Depot, Oceano, CA
After Adams
After Adams
Forth Issue of Dune Forum, 1933
Forth Issue of Dune Forum, 1933
Dunite Historian and Author Norm Hammond in front of last remaining Dunite cabin, Oceano, CA
Dunite Historian and Author Norm Hammond in front of last remaining Dunite cabin, Oceano, CA
Aerial Crawlers
Aerial Crawlers
Sphinx Head at the Dunes Center, Guadalupe, CA
Sphinx Head at the Dunes Center, Guadalupe, CA
Red Sweater
Red Sweater

 

Shed on Passive Sands
Photographs, Archival Pigment Prints, 24″x32″, 2018

 

Shed on Passive Sands (2018), is a weave of historical threads that creates a fabric of the place. These histories, spanning over 12,000 years, are comprised of the Dunes of the Chumash, a people nearly erased by the Spanish Missionaries; the Dunes of Cecil B. DeMille’s ancient Egyptian The Ten Commandments movie set; the Dunes of the Dunites, the artists, poets, nudists, and mystics living in the Dunes during the depression era; the Dunes of photographers Edward Weston and Ansel Adams’ sensual perfection; and the Dunes of the current day Dunites – the ATV riders who tear through the endangered plant species and pollute the air.

The seemingly empty expanse of sand of the Guadalupe-Nipomo Dunes has been a fertile tabula rasa for each successive cultural engagement. Today it has become a political and environmental battleground. The 18-mile coastal Dunes complex north of Santa Barbara, CA allows driving cars and off-road vehicles on the beach and the Dunes in the approximately 5-mile area owned by State Parks. The current 8-year war is between the multi-million dollar ATV industry and those residents in the adjacent communities whose health has been compromised due to the dust the ATVs create.

While the white dunes often appear as a blank, shifting landscape, through media and image, this project aims to pull up a history from beneath the surface to populate the Dune site with a more profound sense of place and meaning. This specific place is also representative of the larger current climate in the United States, the clashing of environmental conservation and public health with economic interest, and a document of the impact of the social landscape on yet another unique physical landscape and population of indigenous people.

 

Recent exhibitions including images from this series:
Griffin Museum of Photography, Boston, MA
Gallery NAGA, Boston, MA
University Art Gallery, Cal Poly, San Luis Obispo, CA

 

Back to Main Portfolio

DUNITES INSTALLATION

Dunites

Installation Documentation and Excerpts of Videos
Solo Exhibition
Gallery NAGA, Boston
September 2018

Including 5 works:
“Shed on the passive sands”, 23 min 4k video, monitor
“Naked to the sun”, 14 min 4k video, looping projection
“On the sands become these lilies”, forty 35mm text slides, auto-advancing slide projector, installation
“These chromatic gardens”, 6 min 360-video in headset, revolving stool, 12’x6’x1′ structure, Virtual Reality installation
Dunites, 6 archival pigment prints from the series, 24×32″

 

Back to Main Portfolio

POSTCARDS FROM THE HANGING

Click on thumbnail to expand image

Site of Public Execution by Burning at the Stake of Giordano Bruno February 17, 1600 (Campo de'Fiori, Rome)
Site of Public Execution by Burning at the Stake of Giordano Bruno February 17, 1600 (Campo de'Fiori, Rome)
Site of Public Executions by Human Sacrifice c. 900-1500 AD (Nohuch Mul Pyramid, Coba, Mexico)
Site of Public Executions by Human Sacrifice c. 900-1500 AD (Nohuch Mul Pyramid, Coba, Mexico)
 Site of Public Executions by Guillotine 1792-1793 (Place du Carousel, Louvre, Paris)
Site of Public Executions by Guillotine 1792-1793 (Place du Carousel, Louvre, Paris)
Site of Public Executions by Hanging June 10, July 19, August 19 & September 22, 1692 (Gallows Hill Park, Salem, MA)
Site of Public Executions by Hanging June 10, July 19, August 19 & September 22, 1692 (Gallows Hill Park, Salem, MA)
Site of Public Execution by Tomahawk of Chief Leatherlips, June 1, 1810 (Franklin County, Ohio)
Site of Public Execution by Tomahawk of Chief Leatherlips, June 1, 1810 (Franklin County, Ohio)
Site of Public Executions by Burning, Hanging & Beheading c. 14th - 18th century (Carlisle Bridge, Dublin)
Site of Public Executions by Burning, Hanging & Beheading c. 14th - 18th century (Carlisle Bridge, Dublin)
Site of Public Executions by Estrapade 17th century (Place de Estrapde, Paris)
Site of Public Executions by Estrapade 17th century (Place de Estrapde, Paris)
Site of Public Executions by Sport c. 80 – 476 (Colosseum, Rome)
Site of Public Executions by Sport c. 80 – 476 (Colosseum, Rome)
Site of Public Executions by Guillotine 1794 (Place de Bastille, Paris)
Site of Public Executions by Guillotine 1794 (Place de Bastille, Paris)
Site of Public Executions by Hanging c. 1861 – 1865 (Fort Warren on Georges Island, Boston Harbor, MA)
Site of Public Executions by Hanging c. 1861 – 1865 (Fort Warren on Georges Island, Boston Harbor, MA)
Site of Public Executions by Hanging of Pirates and Thieves 18th - 19th century (Grand Canal Square, Dublin)
Site of Public Executions by Hanging of Pirates and Thieves 18th - 19th century (Grand Canal Square, Dublin)
Site of Public Executions by Guillotine 1792-1793 (Hôtel de Ville, Paris)
Site of Public Executions by Guillotine 1792-1793 (Hôtel de Ville, Paris)
Site of Public Execution by Hanging under the Charge of Sheriff Charles F. Prevatt, sheriff, 1897 - 1905 and 1908 - January 19, 1912 (Osceola Courthouse, Kissimmee, Florida)
Site of Public Execution by Hanging under the Charge of Sheriff Charles F. Prevatt, sheriff, 1897 - 1905 and 1908 - January 19, 1912 (Osceola Courthouse, Kissimmee, Florida)
 Site of Public Executions by Hanging from the Tyburn Tree Gallows, up to 25 people hanging at a time, averaging 35 hangings per year 1571 - November 3, 1783 (Marble Arch, London)
Site of Public Executions by Hanging from the Tyburn Tree Gallows, up to 25 people hanging at a time, averaging 35 hangings per year 1571 - November 3, 1783 (Marble Arch, London)
Site of Public Executions by Hanging, c.1300 – 1400 AD (Campo San Polo, Venice)
Site of Public Executions by Hanging, c.1300 – 1400 AD (Campo San Polo, Venice)
Site of Public Execution by Burning at the Stake of Girolamo Savonarola May 23, 1498 (Piazza della Signoria, Florence)
Site of Public Execution by Burning at the Stake of Girolamo Savonarola May 23, 1498 (Piazza della Signoria, Florence)
Site of Public Executions by Beheading and Hanging c. 1750 - 1826 (Piazza del Popolo, Rome)
Site of Public Executions by Beheading and Hanging c. 1750 - 1826 (Piazza del Popolo, Rome)
Site of Public Executions by Beheading, Hanging & Quartering 16th - 19th century (Ponte Sant'Angelo, Rome)
Site of Public Executions by Beheading, Hanging & Quartering 16th - 19th century (Ponte Sant'Angelo, Rome)
Site of Public Execution by Crucifixion of St. Peter c. 64 - 68 AD (Piazza San Pietro, Rome)
Site of Public Execution by Crucifixion of St. Peter c. 64 - 68 AD (Piazza San Pietro, Rome)
Site of Sentencing and Public Executions by Beating c. 1420 - 1912 (Wumen Gate, Forbidden City, Beijing)
Site of Sentencing and Public Executions by Beating c. 1420 - 1912 (Wumen Gate, Forbidden City, Beijing)

 

Postcards from the Hanging // Sites of Public Execution
20″x21″ sepia-toned silver gelatin prints in French mats, 2001-present

 

Recorded across three continents, this series includes photographs and short films from sites that have been used for public executions at different times in history.

When I began this ongoing project, there was petitioning for Timothy McVeigh’s execution to be televised, a modern form of a public arena. The desire to watch or show people being killed, as perceived justice or as a political act, is still alive today all over the world evidenced in the ghastly videotaped beheadings broadcast on Youtube and social media sites.

I began this project with questions; What does a society choose to show of its history in public space? Are shifting values visible in the function of the space? Can images reflect the power of society to evolve a public consensus on state killing?

I found some sites that were quite venerated as places for public execution, such as St. Peter’s Square in Rome or the field in Salem, MA (now named Gallows Hill Park) where accused witches were hung. Some places are now well known for other reasons, such as the Louvre, in front of which the guillotine was installed during the French Revolution. The different ways in which the history of these places has been dealt with (some capitalizing on the executions, others concealing the execution history with other events that also occurred in these places) spoke more to me about present day morality and values in each country than the abolishment or continuation of capital punishment in those countries.

The photographs in this series are sepia-toned silver prints presented in French mats. This presentation is a reference to historical photographs and cataloguing of images made for documentation purposes. Each of the mats have calligraphic titles describing the dates and types of executions that occurred on that site, rather than the customary name and place pictured.

In 2007, the book “Sites of Public Execution” was published in conjunction with a solo exhibition of this series at the Danforth Museum (MA).

 

MAELSTROMS

https://vimeo.com/154542512/2615192284

Maelstroms
7:30 duration, HD video, 2015

Using animation, heat sensitive camera footage from US border patrol screens, military bombing drone monitors, and other collected footage, Maelstroms is a mediation on the dehumanizing use of image technology to control borders by land, air and sea.

audio: Upon Maelstroms of Unbearable Reality by Steerage, courtesy of caduc. records

 

Selected Screenings:
– *Winner of Audience Choice Award* CROSSROADS 2016 (San Francisco, April 2016)
– Anthology Film Archives, Another Experiment by Women Film Festival (New York, NY, February 2016)
– Microscope Gallery Event Series (Brooklyn, October 2016)
– San Diego Underground Film Festival (San Diego, Nov 2016)
– Havana Film Festival (Havana, Cuba, December 2016)
– Alchemy Film and Moving Image Festival (Hawick, Scotland, March 2017)
– Montreal Underground Film Festival (Montreal, May 2017)
– Chicago Underground Film Festival (Chicago, June 2017)
– Currents New Media Festival (Santa Fe, June 2017)
– Sign on / Sign off (Stuttgart and ACRE TV, June 2017)
– SDSU Downtown Gallery (San Diego, July 2017)
– WDNX Festival of Moving Image (Winnipeg, October 2017)
– Twisted Oyster Film Festival (Chicago, October 2017)
– Museum of Contemporary Art Tucson (Tucson, AZ, October – December 2017)
– Experimental Response Cinema (Austin, TX, January 2018)
– That One Film Festival (Muncie, IN, April 2018)
– The Vast Lab (Los Angeles, July 2108)
– Empirical Ideologies, Labocine, issue 26 (Online, September 2018)
– Other Cinema (San Francisco, October 2018)
– Revolutions per Minute Festival (Boston, February 2019)
– Short Movie Club Festival (Minsk, Belarus, March 2019)

 

Back to Main Portfolio

LOVELIEST MOUNTAIN OF CHINA

The Loveliest Mountain of China
3-channel video installation

Total running time of loop in installation: 45 minutes
Total running time of installation documentation: 9 minutes

 

The Loveliest Mountain of China (2012/14) is a 3-channel video installation that lays bare the bones of the participatory documentary medium, deconstructing narrative film production modalities, and presenting them across a wall space on three screens simultaneously. Comprised of one screen of interviews, one of fixed camera landscape views and one of “B-roll” of tourists posing in front of the mountain, a self-reflexive epi-narrative unfolds between the screens with an awareness of the illusion of ethnographic representation, gaps in translation, and the complexities of the politics of landscape. Ecological change is approached through the voices and perspectives of people who inhabit and visit – the locals and the tourists – the picturesque landscape of Huangshan (Yellow Mountain).

 
Installations:
-Clark Gallery, Lincoln, MA, February 2014
-Gallery NAGA, Boston, January 2014
-Inside Out Art Museum, Beijing, September 2012- March 2013 (2-channel)
 

PEACH BLOSSOM SPRING

Click on thumbnail to expand image

Peach Blossom Spring Installation View
Peach Blossom Spring Installation View
Peach Blossom Spring Installation View
Peach Blossom Spring Installation View
Shangri-La
Shangri-La
Tree-Lined
Tree-Lined
Space Doctors
Space Doctors
Moon and Mothlight
Moon and Mothlight
Sunrise
Sunrise
Weeping
Weeping
Roots
Roots
Roofscape
Roofscape
Under the Sea
Under the Sea
Seed of the Lotus
Seed of the Lotus
Fish Bike Legs
Fish Bike Legs
Mountain View UFO
Mountain View UFO
Red Wishes
Red Wishes
Spectrum
Spectrum

 

Peach Blossom Spring
Installation including Photographs and Video Installation

Solo Exhibition
Gallery NAGA, Boston
January 2014

from ARTnews, April 2014, Review

Lana Z Caplan, Gallery NAGA, Boston

“This is a place which cannot be described completely,” a female hotel worker in the mountains of China’s Huangshan region tells the artist Lana Z Caplan. The observation, included in Caplan’s three channel video installation The Loveliest Mountain of China (2014), captures the challenge the artist faced in creating the images in this show, “Peach Blossom Spring.” Also featuring 12 ink-jet prints and a wall-size photomural, the exhibition conveyed the impossibility of representing a given location with a single objective description.

In the video piece, one monitor shows the Hunagshan mountains from several vantage points during shifting light and weather. The next monitor displays tourists posing for pictures on a scenic overlook, and the third focus on people in the Huangshan tourism business – including porters, hotel employees and a local artist – explaining their impressions of the location where they earn a living. Change is a constant: clouds hide the sun, gusts stir branches and ponytails, cell phones ring. Caplan’s video highlights just how disparate experiences of the same spot can be, juxtaposing the magnificent spectacle of towering peaks with the bustle of tourism and the realties of everyday life.

Even Caplan’s still photographs suggest worlds colliding. In the wall-size photomural Shangri-La (2013), two roosters pause by a gate before a huge, postcard-pretty panorama of waterfalls and pagodas. Spectrum (2013) zeros in on a patch of rainy pavement where a yellow ginkgo leaf has landed on the yellow band of an oil slick’s rainbow. The most confounding picture of all, Tree-Lined (2013), appears to depict a woodsy scene with a gash through it. The forest is a fiction, though – a mere printed image on a pair of curtains – and the geometric shard slicing the pastoral landscape turns out to be a sliver of a construction site. Just beyond the scrim of the curtains, the chaotic scene of buildings being erected jostles against a vision of uncorrupted nature as vivid and insubstantial as a dream”

-Joanne Silver

 

Back to Main Portfolio