Since 2001, I’ve been working at the intersection of art and science, with an emphasis on conceptions of the natural and the artificial. Drawing from diverse fields including biology, computation, sculpture, and critical design, I view art as an open field in which any discipline can become subject and material. I utilize art as practice-based research with which to probe the deep and often hidden structures of media/technology/science that dominate the contemporary moment and frame our cultural imagination.
My work is project driven and my projects generally begin with a question. The questions that intrigue me are philosophical, scientific, political and theoretical. I have long been fascinated by language and speech, by learning and knowledge representation, by algorithmic models and metaphors, by biological and ecological systems, and by the cultural organization of data as information.
These questions become a fascination, a fascination becomes an obsession, and the artistic product is a document of this process of engagement with the materials, theories and history. My process is a form of intimacy with my subject that comes from a place of love and respect. Through close reading and careful writing of the material of a subject, I aim to subject it to critique, open it to play, and sometimes to subvert it.
Due to its liminal status, art at the intersection of science is uniquely poised as a critical practice. Its form manifests as a kind of ‘double gesture’, the ‘necessary and the impossible’ collide in a type of self-reflexive art that examines its own terms. This doubling is both a critique and homage. By dissecting its very materials, this conceptually driven form utilizes a medium to reflect upon itself. It is an understanding that perhaps we can only come to know something by engaging it very deeply. We can only criticize that which we have lived. Such a double form comes from a place of passion for the beauty and elegance of science, of genuine love for the act of experimentation, combined with an endeavor to realize its framing, an attempt to understand its flaws, limitations, and biases.
It is my hope that coming from this place of conflicted admiration and scrutiny empowers my work to tackle issues and ideas that are difficult to articulate with conventional media. Often it is through the process of experimentation, through hands-on work with the material of a discipline that its organizational contradictions come to light. By physically engaging with the production of scientific knowledge and technological application I hope to untie some of these more hidden knots, and to use materials of the discipline to show rather than say what I find.