Work is the concern of this work. Requisitely concerning itself, it expresses an impersonal self concern. The construction of the built environment, the anonymous hands, and the anonymous bodies from which it derives its existence, and the pleasure and desire it sustains and fulfills... this is the landscape of human activity that this work attempts to penetrate, and the power structures which it implies. Within these structures, one attempts to develop ways in which to manifest physical desire, intellectual insight, and active pleasure through the appropriation of power. The structures of power may be repressive, but they are not exclusive. Through the manipulation of material, one procures an entrance.
The work I produce is constructed mechanically through the calculated manipulation of materials and processes. These processes lend to the work a specific content, paralleled by the built urban environment itself, in which originality is brought into question. The hand is mediated by machine and multiplicity is assumed. Inherent to this process is the concept of reversal. Each image is a narcissistic reflection of itself, its maker, and its environment.
The production of these images has been accomplished through an act of self appropriation. I produce images, scan, manipulate and reuse components ruthlessly, producing new images from the old, in new mediums and new forms. Every image has a lineage. Both content and form can be traced in reverse, revealing through manipulation of the past, the future projective. If this is the structure of history, it must also be the structure of work. Yet all structures of power must be subverted, even one’s own.
This work, and its explication, exist to compel the viewer and the reader to engage in the active manipulation of matter, through productivity and desire. The self is both promoted and subverted, and every act, being the product of desire, similarly contributes to both the production and the subversion of the environment in which it is enacted.