Other Work & Projects
Serious Grounds, 2017, pigment prints, plastic business card holders, 65 x 75 cm (25.59 x 29.53 in)
Serious Grounds was included in the exhibit Screens for its formal affinity with the other exhibited work (grid-based) as well as the fact that the text itself includes an appearance by a screen — a television above the bar at the “cozy, downtown bar and nightspot called Serious Grounds.”
• Read Serious Grounds
Riez (animation) originated out of an opportunity to make use of video monitors installed in the exhibition space at Concreet geeft vorm. The animation was intended to visualize the build process of two prints from the series Riez that were included in the show. In addition to the inclusion of Riez #25 and Riez #38, the animation was also shown — on continuous loop — on screens on two floors of the exhibit.
One complete loop through all sixty-three permutations runs approximately 75 minutes. The version included here contains all permutations with brown, yellow and orange.
Riez (animation) was built with the mighty assistance of CreateJS.
L'Étranger, pg. 42, 2014, book page, pigment print inlay, 11.8 x 18.5 cm (4.65 x 7.28 in), from the portfolio L'Étranger
How (Not) to Make Art
2008 – ongoing
Formally, an homage to projects like Oblique Strategies and Loesje. In terms of content, a notebook of commentary and reflection, often tongue-in-cheek, on the process of being creative and making visual art.
- We are the Pointillists. Resistance is futile
- Postmodernism as a way to talk yourself out of it
- Untitled is to visual art what Show, don’t tell is to fiction
- It's the tiny flourishes and the broad field
- Studio assistants as doping
Critics or Average Men + Demands #1, 1994, collage, 25 x 29 cm (9.84 x 11.42 in), from the portfolio Critics or Average Men + Demands
Critics or Average Men + Demands
1994 – ongoing
Currently, a set of ten collages from 1994 and six photomontage works from 2011 inspired by the famous intellectual falling-out between Jean-Paul Sartre and Albert Camus that took place publicly in 1952 among the correspondance pages of Les Temps Modernes.
Source photos for the collage works are from A Pictorial History of Boxing by Sam Andre and Nat Fleischer. Source photos for the montage works are from the Library of Congress.
• View portfolio Critics or Average Men + Demands