PROJECT STATEMENT
Through my process of editing and composing painting compositions, I became fascinated with my own photocopied source material of midcentury art exhibitions and the visual culture of the museum at that time – both the presentation of exhibitions and the formal qualities of the photocopy. This visual language reminded me of art history handouts from college courses, which the exception that most were very alternate and underrepresented histories in the larger spectrum of authored history.

I began scanning, cropping and editing these photocopies seeking out compositions that used language of current conceptual art practices – minimal compositions with store bought fixtures, houseplants, re-purposed furniture and other neo-ready-mades. These ‘re-photographs’ also function as an extension of my interest in appropriation artists of the 1980s, in which I quote from the museum’s histories then repurpose these reductive images to exaggerate their blown-out, grainy mark-making. The crop separates the subject from it’s original context and yields a new arcane art object.