Attempting
Exploring
roosh
Targeting
Marks/Remarks
Dreaming
Making
Teaching
Mining
Healing
Waiting
Wishing
Playing
Pretending
Ascending
Yielding
"Gifts"
Summer 2014
Thank You Zach
Keelhaul
Merkin
Encumbered
Unto Caesar
Carouse
Berlin Train
Ox-Bow Morning Window Drawing #1 _ Crow’s Nest
Ox-Bow Morning Window Drawing #2 _ Stockade
Ox-Bow Morning Window Drawing #3 _ Hi Pete
Ox-Bow Morning Window Drawing #4 _ Holland
Ox-Bow Morning Window Drawing #5 _ Art Camp L. C.
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Toward a Roof
Plan B
Monopoly
Gifts
Grey Journal #1 _ framed original journal installed with 16 framed photographs as part of solo exhibition, Reading Room, at Washington & Lee University
Arcadia
(Brown Journal #6, 2013)
Hitched
(Brown Journal #6, 2013)
Fears
(Brown Journal #6, 2013)
Matinee
(Brown Journal #6, 2013)
Ritchie Invite
(Brown Journal #6, 2013)
Decorah Cell
(Brown Journal #6, 2014)
Primer
(Red Journal #2, 2012)
Tattoos of Norway
(Red Journal #2, 2012)
Reading List _ Jumble
(Red Journal #2, 2012)
Lockpick
(Red Journal #2, 2012)
Sea Spread
(Brown Journal #5, 2011)
Dear Gina,
(Brown Journal #5, 2012)
High Falls Lunch
(Blue Journal #1, 2011)
Poughkeepsie Lunch _ Winter
(Blue Journal #1, 2011)
Personal Best
(Blue Journal #1, 2011)
Bruises
(Blue Journal #1, 2011)
Holed Up
(Brown Journal #2, 2009)
Joe(y)'s
(Brown Journal #2, 2009)
Installation View _ Arlington Art Center Solo Show _ 2012
Original Journal in central frame, installed with 8 framed photos, and Oar #1 (S)
I attribute the impulse to keep an autobiographical record to my father on the one hand for requiring me to keep a journal during family trips starting at the age of eight and to my mother on the other for her practice of cross-stitching decorative samplers for her home to commemorate important events and holidays. Consequently, I’ve kept a journal in one form or another for most of my life. In a transient time following graduate school before I settled into a dedicated studio, the journal allowed me to continue my practice regardless of my location. I used it as a vehicle for documentation and reflection. But I also began using it to communicate. When a friend or mentor or lover would enter my thinking as I worked on a page, I'd photograph my hand holding the open journal and email the image to that person. I was interested in how an inherently private form might be used more publicly to enlarge my sense of community. At the outset, the photograph was simply expedient to sharing the drawing. However, over time I began to notice correspondences between the interior of the journal and the surrounding margins of reality that constituted what remained of the photographic image. In the most recent journal photographs I address this contextual relationship between book and environment with intentionality.
Facsimile Publication of Grey Journal #2 available for purchase here.