for full effects: sniff pumpkin while viewing


I am a transdisciplinary new media artist excited about the idea of visual semiotics. Transdisciplinary new media refers to allowing the concept to dictate the manifestation of material & form.

philosophy & artist statement

I incorporate spoken stories, found music, scent, and experimental audio that are in conversation to the visual text and imagery. I ask my viewers to read their environments through a lens of wonder in the context of a nonlinear and weak use of narrative. Homi K Bhabha writes of the weak use of narrative in his quote: ”…narrativity cannot be left out of the process of engagement with a work. Having said that, I want to make a distinction between proper use of narrative & a weak use of narrative. The weak or sentimental use of narrative would be to somehow take a work that internally resists the narrative impulse and to create a story out of it, to facilitate the exchange between the viewer and the work, or between the work and the world, not acknowledging its resistance to telling a story in a particular kind of way.” I feel that this reflects within my relationship I have to myself and my work. I have observed or experienced in my short life, the louder my ego is, the blurrier my lens of perspective is. Not only do the lenses that I walk this world with see, they also project. With that being said, I am also learning to acknowledge the identity that I hold just by being born into this vessel that I was given to live & die in. A sense of ambivalence seems to be a place for intersectional translation. Meaning is always moving, even when we see relative fixity. When the work is static and solely visual, my intent is to stretch the sensory perception of language; there is aesthetic synesthesia rooted within the practice. Aesthetic synesthesia refers to the curated blending of senses.

My thoughts when talking about visual semiotics are that: words are beautifully difficult; we all bring different associations & experiences to each word, sentence, and painting. Such interpretations photosynthesize. Photosynthesis of form could be an attributed metaphor for form perception. Words & paintings both are subjected to form perception. Form perception is the psychological term in which our brains take in the raw data of the world around us to make sense of one’s surroundings, etc. Our brains fill in the gaps, because it is safer than needing to take in all the information before making a decision. It would take too much time to figure out that the lion is truly a lion about to hunt you down for dinner if you had to first register the rest of your surroundings in full, as well as each hair follicle on her whiskers. Our brains construct our perception.

My work continues the practice of divergent focus. What does it feel like to acknowledge the gap that our brains fill in with regards to form perception? I believe there is a chance for play in associations within exploring the liminal space that tandems all modes of communication & perception; whether through written or spoken language, digital or physical media. A play in the breaks of gestalt closure. My work is media on media to a certain degree; a critique on contemporary media to another. The medium one chooses plays a big part in how the multitudes of interpretations are constructed through material culture and association. Playfully exuberant exploration can be made on how rhetoric, mythos & media impact the singular individual being & the multiples. The foundation of my practice is enriched in the vein of post structuralist thought; the death of the author happily hatches the reader. Relinquishing strong narrative control as author, allows for comfort within the unknown & to appreciate what is present. My work shares that we can find excitement in the mundane or the uncertain.

top of page