"I make art so you don't have to."

As a 21st. century art worker, I make the work you(’/ll/ve) see(n) because if I didn’t, it wouldn’t exist; at least not in the guise as perceived by you/generated by me through various –hard/soft/ware– devices. Granted, some (of you) will find (t)his work derivative (of others), banal, pretentious, humorous, timely, critical, sublime even, which can only mean success has (too) made a failure out of me. It’s what I do best, having come to acknowledge (my) limitations in other perfunctory aspects to exist(ing) -occasionally living; thereby freeing me to focus on this form. An image by me is not just (art)work, it’s my product and I’m not just a/the creator/producer, but a/the brand (name) ––for an age where you too are a brand, not just a number! and where language is just as mercurial/laden as sign(ifiers)s (are) ––both w/ a multitude of meanings/voices.

I choose to make my work manifest itself (preferably) in (a) photographic form ––though lately it’s appearing/simulating (that of) other (time based) media such as video, this is (a) most suitable voice/sign(ifier) for one(s like you and I) who reside(s) w/ in a perennially mutating forest of signs ––said signs changing according to tides of cultural (in/)flu/xes/ences. The image is/as currency and (actual) currency appropriates its ––art’s–– likeness for his/her/my/its own private/cultural purposes; or else, it (the image, that is) benefits itself for distribution ––by/through consciously engaging all that technology has to offer (for one/)those who (can) afford/appropriate it for their own personal/cultural endeavors, thereby allowing creators/distributors to activate the principles Walter Benjamin and others (have) postulate(d) about ––then, since, presently, and in the future.

 

I make art so you don’t have to, because either you can’t, won’t, or don’t need to; but you do have an appreciation for the sublime ––in all its myriad facets/my interpretations (of). So, buy some already, or else, commission a portrait, grant yourself (another) moment(s) of transcendence.

Dare (yourself) to dig yourself!

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I earned a Studio Diploma (1998) at the School of the Museum of Fine Arts and a BFA at Tufts University (1996), Boston, MA. I’ve self-published a series of (artist’s) books using images, text, text with images and text as image/image as text as limited editions and in various sizes, using a variety of materials/processes. I enjoy playing with the book form(at) as an art(form in) itself.

I could tell you more about my work, but I’d rather you see it for yourself instead; once you have, you’ll feel about all this rhetoric similarly to how you do/might about the label which accompanies a piece in a museum/gallery.

I’ve not exhibited my work much ––until recently–– and when I have, I’ve kept a poor record of said instances.

 

Exhibitions;

Sisyphus’ Boxes (formerly Displacement Boxes/Moving Travels), in collaboration with Anna

Shapiro, Providence RI, Portland ME and Rio de Janeiro, Brazil 2005.

6 Artists, Group show -as part of Joshua David’s Art Brokers Int’l., Tremont-on-the-Common, Boston, MA, 2005.

¡Booked!: Arrested Development, Roland Smart & DAVYDe., an exhibition of artists’ books at the Photographic Resource Center, Boston University, Boston, MA, 2000.

Naked or Nude, group exhibition, Gallery Bershad, Boston, MA, 2000.

 

Press/Reviews/Interviews:

01.06 Ashley Mercado, The Agenda, vol. 1, Issue 14. Interview: The Shoes Behind The Curtain: Investigating the documentation of art and performance.

12.05 Colin Owens and David Tamas, ArtFilmDesign.com podcast, issue no. 12. Interview.

 

 

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