Framed photograph of the artist standing next to his framed drawing... (2026)

 

Framed photograph of the artist standing next to his framed drawing of Maroon Bells, Aspen, Colorado, 2013 in Prismacolor pencil hanging sixty inches high on center, level with sufficient lighting and a wall tag. 

A comment on the activation of an object or event becoming art, based on the philosophical premise that in order for something to be declared art it needs to be viewed by another. In this instance the photograph freezes a moment in time confirming the drawing as not being art because the maker is the only one viewing the object and it is not being shared with another. That changes when the two objects are viewed in a public space but still retains its original meaning or suggested intention as not being art.

Accessible (2026)

 

Framed and unframed pencil and marker drawings, acrylic and watercolor paintings on tracing paper, masking tape, ladder, caution tape, bucket of paint, can of paint, red broom, and a cardboard box with a variety of unframed drawings and paintings.

Using a utilitarian and mostly neglected space of this art gallery and reinforcing that idea by including objects from a storage room, my intent was to question the idea of what is accessible and where can that be located, especially in the context of cultural and social accessibility and our perception of what that means on multiple levels. 

Help Me Joseph Kosuth, You're My Only Hope (2025)

 

Using Joseph Kosuth's piece One and Three Chairs (1965) as a reference. What Kosuth investigates are permutations of meaning, defining what constitutes an object and what is the basis for something to be valued as art. In my piece the object and additional circumstances surrounding the object presents another level of inquiry. 1) a drawing of the object in a wood frame on top of empty broken wood frames, 2) the object (wood) on top of the drawing, 3) a definition of the object (wood), 4) a photograph of the object on the drawing on top of empty broken frames and a definition of the object. Also available for viewer's to take is an except of Kosuth's Art After Philosophy (1969) that confirms and asks questions still pertinent to how art is viewed, commercialized and consumed. Kosuth's One and Three Chairs investigates meaning in a different way, but I ask Kosuth to help me solve this dilemma of uniting the installation. Here lies the dissimilarity between our work and ultimately Kosuth is unable to solve this problem of defining a single object because the object exists within the context of an expanding narrative requiring an emotive and aesthetic reaction.

Places I've Been, Things I've Seen and Done (2024)

 

Over 400 drawings, paintings and watercolors, a performance video of me smashing framed drawings against the wall in the space, led shop lights and clamp lights, found objects (packing paper, bottles, cans, packing tape, ladder, cooler, chair, moving boxes, etc.), movie stills, and various excerpts from art theory and philosophical texts commenting on art consumption.

What in the Wide, Wide World of Sports is Going on Here? (2024)

 

Using a common pedestal and locating the installation in the middle of the space the theme of the show was about the wild west and how that can be interpreted. Hanging amongst the drawings is a still image of Slim Pickens character from the movie Blazing Saddles and the title is one of his lines from the movie. There remains a misinterpretation of what the American west is about and Blazing Saddles absurdly provides a cliche and humorous misrepresentation.

misPLACEd (2024)

Paintings, drawings, led shop light, political cartoons and photographs related to environmental and native American rights, trash you would find in a park, and books on United States law and key figures regarding these rights. 

Because memorials, historic civil and foundational buildings and sites, national and state parks are publicly accessible they can become contested places where personal and public rights are symbolically or literally questioned. Sometimes infringed upon and protested. These are places where ideas and respect for what degrees of freedom represent are enacted, especially in relation to who has access and what can and cannot be done in those places.

I Dream of Art (2024)

 

Over 150 stacked drawings with still images from the TV show I Dream of Jeannie and a video of myself dancing with a framed drawing projected onto a stack of framed drawings to the theme of I Dream of Jeannie.

All I Need Is Time To Draw And A Cool Place To Show (2023)

 

This small installation used a graphic image of Spicolli, Sean Penns character from the movie Fast Times At Ridgemont High. The title is based on one of his lines from the movie. Integrating this type of imagery is meant to lighten the overreaching sense of seriousness and preciousness that art generates.