“In the visual arts, [photography] fulfills several crucial functions, notably that of representing fragments of the real more faithfully and convincingly than, generally speaking, the human hand. Such ‘representation’ however is merely technical; the cognitive value of a less faithful drawing may be superior….”1
Recent projects are based on an expanding constellation of ideas related to history, memory, displacement, current and obsolete technologies, and sites of learning. The basis for this has been a return to some of the quasi-lessons and familial/cultural interactions from teenage years—a kind of deconstructive review—in order to contribute to a complex dialogue that was difficult to absorb then and is hard to remember now.
Historical identity is a problem of conflicting ethoses: never forget/assimilate, the flipside of which is the subjective dream-desire of a homeland, an American myth in reverse. Current works have emerged from this vaguely parametric space of legacy and longing, and have involved explorations of these themes through the lens of material interests.
1 Rainer Rochlitz, L’art au banc d’essai. Paris: Éditions Galimard, 1998, chapter III: “Deux artistes”; and Photography and Painting in the work of Gerhard Richter: Four essays on Atlas. Barcelona, Llibres de Recerca, 2000, chapter IV.