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!
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.
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.
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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