The exchange of ideas between people has become contingent upon the consumption of images, leaving us to contend with a culture in which brand identities are synonymous with value systems. My research examines mass-media technologies' influence on our composite understanding of a shared symbolic culture. In the ouroboros of production driving creation, creation driving consumption, and consumption driving production, identity is reduced to the sum of what we consume. How does the adoption of fluid symbols affect our values and epistemology as a society? In our rampant consumption of images and rhetoric through the digital membrane of the screen, have we blunted our ability to distinguish a vestige of reality from the thing itself? This desire to believe what we see is foundational to the mechanics of misinformation.

Working in the expanded field of printmaking, I utilize a conversational process in which compositions emerge somewhere between intention and errors in translation. Literal and metaphorical matrices guide the hand and eye. The democratic nature of this medium appeals to reflections on the relationship multiples have with access, capital, and the machine. I deconstruct images sourced from a mythologically idealized American past and troubled present, collaging them to draw new narratives that subvert them from their original contexts to capture the prevailing sense of isolation, anxiety, and paranoia built into the mechanics of late-stage capitalism.  The resulting compositions collide with speed and rhythm, depicting information entropy in infinite replication. 

I explore the fallibility of photographic imagery and questions of authenticity in the production of multiples. Utilizing memetic forms as constructs for my compositions, I examine post-modern modes of communication in a hyper-connected world of dynamic symbology.  A visual language of marks reacting to found imagery pivots between clarity, recognition, and ambiguity resulting in narrative relationships in the work that are largely dictated by what viewers psychologically project onto the work.  Through this practice of active viewing, I emphasize the ways in which we frame images in our biases rather than derive truth from them.