As a cinema artist, there is no hesitation to utilize any available technology or process to enhance my craft. A wide variety of media, including motion picture film, video, photography, and audio are used in my works. In addition, they are composed of live-action, recycled media, 2D or 3D animation, surround sound, or a combination of styles and elements. Currently, I am interested in fusing modern technologies and ideas with select film genres and avant-garde elements of the past. These are at play in my feature-length science fiction project, The Pyramid Room and my most recently completed and 2nd of a series, Dynamism of a Figure No. 2.
While my art may contain elements of satire or political banter, I primarily concentrate on such elements as structure, abstraction, and rhythm. The concept, process, and completed work all have equal significance. A lapse in either of the two former elements produces deficiencies in the latter. The outcome must justify the means and vice versa. The image on screen that the eyes receive and the sound collected by the ears are the most essential elements, not the idea of the image or the idea of the sound. The picture and audio must bind themselves in cohesive finality. The actual manifestation via the screen and speakers are the final objective. I strive to create works in which the viewer need not be reliant on written documentation, knowledge of advanced cinematic theorems, nor current artistic trends. Over the course of the last 7 years, I have used these personal constructs to guide my interest in the amalgamation of modern technologies and ideas with select elements of the past.
Dynamism of a Figure No. 1 and No. 2, peer back to the movements of the early twentieth century, in particular Futurism and Cubism. However the idea of space-time, motion studies and cyborgism are now fused within the digital symmetry of the computer. Utilizing a combination of state-of-the-art motion capture technology and 3D animation, the resulting work is a high-definition video triptych. The looping imagery generates countless juxtapositions between the three screens, consequently producing a transformative experience for the viewer. At a basic level they are complex motion studies, at a more cerebral level, a reflection of humankind’s constant fear, isolation, evolution and resilience.
My series titled 35mm, is a collection of video shorts. They are composed of motion picture trailers and other recycled media, which are recontextualized into abstract and rhythmic collages. Combined with the accidental processes that sometimes occur during digitization, these hybrid works expand the previous boundaries of analog methodologies.
As a cinema artist, I will continue to utilize the most modern technologies as they become accessible. The infusion of new tools, assures my work remains innovative and fresh. Combined with evolving aesthetics, my art is invariably progressing into more heterogeneous and avant-garde forms. It exists in a propitious state of flux. (7-15-16)