Artist Statement: Bridging Literal Descriptions, Personal Connections, and Appropriation: The Alchemy of Poetry, Generative Reports, Page Locations, and Book Covers
At the core of my practice lies the belief that the title itself, as Marcel Duchamp once stated, is an invisible color. It is this guiding idea that fuels my creative process. Where the literal meets the poetic, and where words transcend their surface meaning.
Through the creation of books, I have discovered my own approach: crafting titles that serve as literal descriptions of the contents within, while simultaneously embodying the essence of poetry and prose. These titles, sometimes presented as poems or blocks of prose, guide readers through the intricacies of each page, explicitly indicating the location of every detail and text object. The titles themselves become poetic compositions, sometimes forming rhythmic verses or visually demanding blocks of prose.
The pages themselves become conduits for conceptual dimensions, where time and objects take on new forms, where the height of a water tower is measured in pages or where trains embark on a journey dictated by page number. The precision of page locations serves as navigational markers. Anchoring details and textual objects to specific pages.
I often draw inspiration from Adobe PDF Preflight Reports. These reports, generated by the software, infuse the contents of my books with elements of chance and serendipity. The technical data merges with artistic expression, creating a harmonious blend of the structured and the imaginative.
By selecting book covers from other authors, chosen for their personal meaning to me, I reimagine and repurpose them to suit my artistic intentions. These covers become windows into my own history, reflecting my journey, experiences, and connections. They serve as an entry point, inviting viewers to explore the convergence of personal narratives and the literal descriptions within.
I draw from the realm of academia by appropriating dissertations from various sources. These dissertations become the foundation for generating content through a unique process of analysis. These dissertations hold a personal resonance. I run reports on their content, infusing my books with detailed descriptions of PDF errors and technical problems.
By using my own title as a means to describe what remains, I invite viewers to embark on a journey of interpretation and introspection. Each title becomes a poetic fragment that holds both literal and metaphorical significance. The titles, in their essence, become the main point of focus, capturing or shaping the viewer's perception of the work.
As Duchamp eloquently observed, the title itself is an invisible color — a catalyst for imagination and contemplation.
At the core of my practice lies the belief that the title itself, as Marcel Duchamp once stated, is an invisible color. It is this guiding idea that fuels my creative process. Where the literal meets the poetic, and where words transcend their surface meaning.
Through the creation of books, I have discovered my own approach: crafting titles that serve as literal descriptions of the contents within, while simultaneously embodying the essence of poetry and prose. These titles, sometimes presented as poems or blocks of prose, guide readers through the intricacies of each page, explicitly indicating the location of every detail and text object. The titles themselves become poetic compositions, sometimes forming rhythmic verses or visually demanding blocks of prose.
The pages themselves become conduits for conceptual dimensions, where time and objects take on new forms, where the height of a water tower is measured in pages or where trains embark on a journey dictated by page number. The precision of page locations serves as navigational markers. Anchoring details and textual objects to specific pages.
I often draw inspiration from Adobe PDF Preflight Reports. These reports, generated by the software, infuse the contents of my books with elements of chance and serendipity. The technical data merges with artistic expression, creating a harmonious blend of the structured and the imaginative.
By selecting book covers from other authors, chosen for their personal meaning to me, I reimagine and repurpose them to suit my artistic intentions. These covers become windows into my own history, reflecting my journey, experiences, and connections. They serve as an entry point, inviting viewers to explore the convergence of personal narratives and the literal descriptions within.
I draw from the realm of academia by appropriating dissertations from various sources. These dissertations become the foundation for generating content through a unique process of analysis. These dissertations hold a personal resonance. I run reports on their content, infusing my books with detailed descriptions of PDF errors and technical problems.
By using my own title as a means to describe what remains, I invite viewers to embark on a journey of interpretation and introspection. Each title becomes a poetic fragment that holds both literal and metaphorical significance. The titles, in their essence, become the main point of focus, capturing or shaping the viewer's perception of the work.
As Duchamp eloquently observed, the title itself is an invisible color — a catalyst for imagination and contemplation.