Daily we pass through neighborhoods without taking the opportunity to stop and look.   We know nothing of the people that populate these communities.   We are passersby – in a car, riding the light rail, or on foot – traveling too quickly, witnessing nothing of our surroundings.

We have been taught boundaries.   We have been taught were to go and where not to go.   We draw maps to delineate countries, states, counties, cities, and even neighborhoods.   But these maps represent our division…

Video Samples and Full Statement



Within the artistic realm, there is the potential for manipulation, damage, decay, or loss to be exhibited as a creative process. This creation/damage itself occurs both because of, and in spite of, human interaction. The resulting artwork emerges from the collaboration between the disruptor of data and the reorganizer/interpreter of information.

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96, 33-95

96, 33-95

Project Statement

We live in a technocentric society. Willingly we trade away stability, permanence, and the desire to investigate in favor of increased speed, miniaturization, and the easy, instant access to information. The transient nature of information has been mapped upon the tangible aspects of our lives.

At what point did the world decide that impermanence was better than permanence, that the degradation of our products, disintegration of our literature, dissipation of our history, or the deciduous nature of our art would become desirable, acceptable, reasonable?


As things begin to decay, they may create a visual appeal and a scientific interest; but the beauty of natural decay is organic. Its degradation is a creative process developing a new form while retaining aspects of its prior self. Digital decay is destructive. Data is lost, yet its loss is accepted. Should it be abhorred? Should it be tolerated? Is there a place where it should be desired?

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