The Camera Now!

     Since its introduction the late 1960s, the portable video camera has led a complicated and diverse history. Artists were quick to establish a new medium in video art, exploring the self, social critique and the technical limitations of the device. Some artists, in criticism of broadcast television and one-way media, took it upon themselves to create their own content and document the world around them. Through the kaleidoscope of expression that is video and the controlled broadcast of media culture, a viewer is subject to the patchwork of the visual medium as a whole. Broadcast television provides a total consciousness of imagery from which the global audience is involved yet complacent. The viewer, in real time witnesses the immediacy of broadcast as reality dissipates into the memory of stored footage. The viewer, exposed to video, is out of time with its content and may speculate its purpose, but may not inherently build an understanding of what is presented. What then is presented and who is the audience?

     As we look to the present day, video capturing devices are inhabiting nearly every moment of life and video media readily provides a stream of images to a global audience. In Ant Farm’s fortuitous and seminal work from 1975, The Eternal Frame, the “Artist-President” character comments on the accessibility of images, “I am in reality only a link in the chain of pictures which makes up the sum total of information accessible to us all.” Ant Farm’s critique in this particular case attacks mass media on its role in composing history while battling the notion by creating their own media content. It is the early works of video media critique from artists such as Ant Farm that have opened the doors to social documentation and created outsider outlets for media production and social critique. Today, a video recorder can currently be found on nearly every individuals cellphone or can easily be obtained for less than twenty dollars in the second hand market. Security cameras monitor the civilian, civilians monitor the surveilled. Police officers are designated to wear body cameras and police vehicles supply dash cam footage of civilian contact. Current media consumers are barraged by the juxtaposed imagery of police cameras and those of eye witnesses at the scene of a crime. Fortunately, the availability of the camera to the civilian has the power to reveal corruptions in the system and with various channels may now be communicated on a global scale through the open, yet still mediated, avenue of the internet.



Ant Farm. The Eternal Frame.1975. Video Data Bank. Video.

May be viewed in portions through Ant Farm's Media Burn

My Camera, My Aim.

     Throughout my life I have had an interest in how the past has hinted towards future changes in art, music and technology. By combining mediums of analog technology with current digital capture and processes my objective is to create an ageless yet recognizable palette to bring my ideas into fruition. My practice strives to deconstruct the familiar and reveal the unseen. In this process I aim to fracture natural forms and create an abstract yet resonant understanding of thematics, sensation and memory. I have spent the last fifteen years building and applying my skills to create music, film and video. I am influenced by the past and the future in order to create a new means of absorbing and understanding artmaking as a whole. I am also interested in the use of video, sound and digital processing to collage textures and objects of conflicting scale into a digital tableau. Whether for screening or installation, my practice is defined at the bridge of the physical and the digitally manufactured. I find importance through the interaction of real world objects and their possibilities within their altered existence in the digital space. The digital plane allows a transformation and compounding of the mundane to express complex expressions and relationships which aid in the creation and interpretation of life and memories. These memories can be found, recreated, ever changing or even degraded. In observing degradation, my practice informs an interest in the fragility of the human experience and a focus towards subtle beauty in the exploration of self/non-self and gender. In artmaking I find an urgency in the bounds of self, an engagement with the influence of my community and a pure commitment to my work. Through surrender, I set to navigate my technical skills as dictated by the individual decree of each project at hand.