Statement

Through painting & drawing, sculpture & mixed media, installation, and, last but not least, sound, I examine our presuppositions underlying perception. I accept delusion as an omnipresent part of human adaptation, a way to make sense of our world, one very different from other living things. We may see a well positioned source of water to put out fires (painted red); while, a dog will see a great place to mark its territory (colored the same grey as a telephone pole or tree). Since 2016 I have been working on two projects that embrace sensory overload as a means to unlock ways of perceiving a world made narrow by the impositions of power:

Space Between Points™:

St Celfer fights the tyranny of the square and the seduction of the frame by making marks and sounds in dimensions beyond the third. Visually I break the plane of the wall through the application of marks. These images, though applied to the wall, inhabit another dimension. Aurally I break the bounds of the cube by launching 16 sound sources into the 8 corners of a square space thereby making a sonic tesseract. A cube in fourth dimensional space has 16 corners.

The sound source, St Celfer's Suites, overloads our abilities to filter information. As a composer I make measureless, asynchronous music with jumps in scale and time. It's not noise, ambient, or chance music which fall into known structures themselves. To do this I take the contemporary fad that is killing popular music today and turn it on its head by crashing autotune software with tasks it cannot handle. It is an invented means of synthesis rather than the current trend of imitating past modes.

My shows take time to install as adjustments are made in order to make the work fit the space and convincingly transform it. Each installation is unique to the place it lives. This shaman-like activity is open to the public and relates to my alternate career as an Olympic rower and coach and to my personal experience with rhythms of the mind.

Step.4D™:

Transitioning from an in-studio process of the "Suites”, my energies have gone into the interface between man and machine. I have made an instrument, homemade, or more accurately, “gambiarra,” in Brasilian Portuguese. It mounts to a single mic stand with interconnected gear which I have attached and arranged so I can best make music in the moment (as opposed to tracking and then arranging). It’s a future folk machine made of redundant or repurposed musical parts, capable of the most complex improvised structures. Sound is amalgamated and congealed by the Step.4D™ into a resolution of crossed and overloaded signals.

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