My work is driven by ideas and as such is not dependent on any given media. One consistency across all my projces is the visual primacy of my work. I love the experience of visually rich work. My goal is to create work that encourages exchange and is dialogic, rather than authoritarian, in pursuit of what German author Hans Magnus Enzensberger would call emancipatory media.

To that end, I often use narrative digressions, compositional strangeness, and include visible processes within the final work. That is, I’ll choose to include cut-out remnants instead of, or in addition to the object cut out; screw heads used in construction of pieces will be visually and physically present; and picture planes created will be close to square, but not quite. I often use hand-painted text, referencing more closely hand-painted “For Sale” signs and other rural visual communication than the more readily acceptable closed-form, typographic signs. These somewhat Brechtian efforts result in work that is open and without pretension.

Narrative digressions, the exposure of process and construction, and a nod to the vernacular make apparent my presence as the shaper of the visuals. This, and the egalitarian quality of my work, is an invitation to dialogue and community as opposed to authoritarian, closed-form work meant for passive consumption, or what Enzensburger refers to as repressive media. Or in other words, my goal is to create cool visuals, stuff outside of your expectations while welcoming and open to your voice.

This pursuit of exchange is particularly present in my Design Theory events  where my work functions literally as a catalyst for dialogue. These pieces are predicated on the public/audience exchanging their role of passive recipient, becoming aware, choosing to participate and, regardless whether hung in the conference hall, worn, or postered in the city square, completing and activating the installations (sometimes unpredictably) in the process.