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this page acts as a window into a new practice i’m engaging in. it is performance, documentation, process, and product all at once. the practice is an ongoing experiment, subject to change and revision. the work displayed here takes many forms, knows no name, and is always changing.
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the practice involves performing specific actions while masked. in wearing the mask i let go of any specific outcome, conjuring mysteries and memories. it helps me mine my mind, communicate with buried ideas; see things invisible. with the mask i release fear and make present.
this page acts as a window into a new practice i’m engaging in. it is performance, documentation, process, and product all at once. the practice is an ongoing experiment, subject to change and revision. the work displayed here takes many forms, knows no name, and is always changing.
︎
the practice involves performing specific actions while masked. in wearing the mask i let go of any specific outcome, conjuring mysteries and memories. it helps me mine my mind, communicate with buried ideas; see things invisible. with the mask i release fear and make present.
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the mask design is based on a drawing i made a few years ago. at the time, it looked completely different from everything else i was making. it sometimes feels as though i never drew it. i found it again early january 2021 and realized it was a self portrait. and i needed to make a mask.
the mask design is based on a drawing i made a few years ago. at the time, it looked completely different from everything else i was making. it sometimes feels as though i never drew it. i found it again early january 2021 and realized it was a self portrait. and i needed to make a mask.
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wearing the mask obscures my vision, reducing my environment and range of color. everything is seen beyond a beige fog. this vision heightens my awareness of texture, feeling, and sound. the mask moves creation away from being edited and orderly. the work makes itself.
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this process is not entirely new to me. over the past year, i’ve begun journalling in the dark of my bedroom, under the stars, with my eyes closed; not seeing the page has helped me release things i’ve compartmentalized.
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in april 2021 i visited the philadelphia museum of art and took note of cy twombly’s iliad. it looked as though the wind painted it. i was further drawn to twombly after learning he too was from virginia. his use of text has informed the way i choose to represent language, and an overall visual looseness, in this practice.
wearing the mask obscures my vision, reducing my environment and range of color. everything is seen beyond a beige fog. this vision heightens my awareness of texture, feeling, and sound. the mask moves creation away from being edited and orderly. the work makes itself.
︎
this process is not entirely new to me. over the past year, i’ve begun journalling in the dark of my bedroom, under the stars, with my eyes closed; not seeing the page has helped me release things i’ve compartmentalized.
︎
in april 2021 i visited the philadelphia museum of art and took note of cy twombly’s iliad. it looked as though the wind painted it. i was further drawn to twombly after learning he too was from virginia. his use of text has informed the way i choose to represent language, and an overall visual looseness, in this practice.
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revelation 001
this painting opened up the practice. it was made under a specific set of conditions which reflect its purpose.
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the painting was made in 11 minutes. it was painted while listening to a recording of myself reciting an excerpt from the bhagavad gita. words were written down as they were heard. colors were decided before-hand and placed on the floor in individual containers.
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quote:
revelation 001
this painting opened up the practice. it was made under a specific set of conditions which reflect its purpose.
︎
the painting was made in 11 minutes. it was painted while listening to a recording of myself reciting an excerpt from the bhagavad gita. words were written down as they were heard. colors were decided before-hand and placed on the floor in individual containers.
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quote:
“god of gods, lord of the world, life’s source. o of all creatures,
how shall deva or titan know all the extent of your glory?
you alone know what you are, by the light of your innermost nature.
therefore, teach me now, and hold back no word in telling
all the sums of your shape, by which the three worlds are pervaded.
tell me how you will make yourself known to my meditation.
show me beneath what form and disguise I must learn to behold you.
number them all, your heavenly powers, your manifestations.
speak, for each word is immortal nectar; i never grow tired.”
how shall deva or titan know all the extent of your glory?
you alone know what you are, by the light of your innermost nature.
therefore, teach me now, and hold back no word in telling
all the sums of your shape, by which the three worlds are pervaded.
tell me how you will make yourself known to my meditation.
show me beneath what form and disguise I must learn to behold you.
number them all, your heavenly powers, your manifestations.
speak, for each word is immortal nectar; i never grow tired.”
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revelation 002 (irregular heartbeat)
this painting was made automatically, without specific purpose or design.
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the painting was made over 2 days, with around 1.5 hours of actual time spent painting. the painting took 2 forms. the colors were mixed both before and during painting. it was painted to a mix created earlier that day.
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during the second day of painting, i experienced irregular heartbeats. they made their way into the work.
revelation 002 (irregular heartbeat)
this painting was made automatically, without specific purpose or design.
︎
the painting was made over 2 days, with around 1.5 hours of actual time spent painting. the painting took 2 forms. the colors were mixed both before and during painting. it was painted to a mix created earlier that day.
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during the second day of painting, i experienced irregular heartbeats. they made their way into the work.
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revelation 003 (yet to come)
revelation 003 (yet to come)