As a research-based artist, I use a range of media – particularly video, audio, photography, text, and public events – to give form to long-term explorations of the politics of space. I have paid particularly close attention to landscapes of public memory and, increasingly, sites where ecological, cultural, and military forces are intertwined.
As art historian W.J.T. Mitchell influentially observed, “landscape” should be understood less as a noun than a verb—not merely a visual genre but a cultural practice through which the historical, material, and social processes that have shaped space are naturalized and rendered opaque. The visual dimension of landscape has been widely theorized as concealing more than revealing, presenting a methodological challenge for the visual artist. By themselves, images may monumentalize their subjects, and artists have long used strategies like distortion, sequencing, captioning, collage, and montage to disrupt the power of the single image. While concerns with landscape have animated my most significant work over the past seven years, I have consistently sought to shift, undermine, or supplement the visual dimension of space through textual and experiential means. Rather than offer fixed, masterful works that might present alternative content but address the audience or spectator in familiar ways, I seek to share my research process as one possible model for critical engagement with space. My goal is to offer accounts of landscape that allow them to be read as complex but contingent material and cultural assemblages.