I often make work that combines opposites or alternatives. The works in Signal are collages of drawings, digital prints, and layers of acrylic paint and ink on panels.
They started as iPhone photos I took of dazzling, pulsing neon static on my malfunctioning TV screen. I made a set of large digital prints from the TV photos, and then put them aside while, in response to the pandemic and other events, I created drawings of dark forested landscapes in ink and charcoal. These then also became large prints.
Recently, I realized I could combine the two kinds of imagery - one impersonal, modern and engineered, the other hand-made, emotional and ancient.
I’ve begun to see the paintings as questioning our present moment of onrushing technological, environmental and social change: How do we feel about the fragmentations and uncanny interferences around us and within our private spaces? How do we understand them? The beauty of neon static is also part of nature’s energy streaming though the environment and our bodies. A forest is a hum of electric energy, as are our bodies. Yet technological advancements also disrupt the natural environment and call into question our human-ness.