no viewpoint is ever discarded, the internal space is open to a continuous rearrangement, and access to a selection of views and narrative vectors are infinitely available, not only to the author, but also with the use of certain strategies, to the viewer.
My work engages in a Kantian quest to capture the experience of the sublime through the limited means of human consciousness. It is a question transcends cultural boundaries and one that opens onto fundamental inquiries into the nature of human existence: who we are and what is our significance in the material cosmos?
My work began with traditional media and materials, but has evolved into an engagement with computer-rendered abstractions. Modeling my animations on the allegorical paintings of Casper David Fredrich, I discovered that his aspiration to explore the nature of physical and metaphysical limits mirrored a fundamental aspect of Chinese Traditional Landscape Painting. Extending out from the pictorial, my installation work engages in a metaphoric relationship with physical perception, by which the sublime is framed and the viewer is invited to enter into a liminal interior within a digitally constructed realm.
I consider artists like James Turrell, Ryoji Ikeda, Gordon Matta-Clark, and Christo and Jeanne-Claude as luminary guides whose art has inspired my own exploration. As technology has enabled new experiences of both awe and terror, I see the emerging form of Techno-Sublime as a contemporary link to a longstanding artistic quest. The computer simulation technology used in my work allows me to realize both familiar and virtually unknown realities conditions in which what is real and what is unreal blend into a hyper-reality.