A race in the right direction with speed bumps along the way, I’ve pondered the cosmetic nature of the world, the minimum attention for change, rising inequality, the collapse of the blue collar-world, biofied nature, and domestic and global partnership. Closer to home, I’m appreciative for my liberties and worried about my fellow citizens, anxious about my children’s prospects and troubled by the gaps that divide our world. Strictly speaking, none of this has much to do with my speck of existence or reliable witness, which could reasonably fan the flames by visually addressing the contents that people seek out to escape such worries and anxieties. High art and popular entertainment, in their ironic diffusion, offer ephemeral havens and welcomed distraction. Their pleasures and comforts are not superficial, but essential. Art is the orbit of influence for solved problems, even if the problems are conventional and the solutions artifice.
As the subject of my work, Culture, as one subjectively sees it, buys and sells its position, whether as physical objects, fleeting dreamscapes, or altered artifacts. Their making requires labor, capital and a market for exchange. The link between artist and public is managed by the cultural industry (ten o’clock news, individual expression, aural creation, and Hollywood’s next big, much advertised fantasy). But the whole system, from top to bottom, is inescapably part of the proverbial canary in a coalmine – the American way.
And that truncated vision, in turn, provides an endless stream of subject matter for my work. Much as I hold suspect the efforts of today’s spin-doctors to explain the world and the intermittent efforts of elected officials to change it, I trust visionaries more. Not necessarily to be ethical or unimpeachable, or even consistent or coherent; not to instruct or illustrate, but rather, through the integrity and discipline they bring truth to making something new.