My practice converges through drawing and painting, where I develop speculative locations on a quest for a clear image of remote and inaccessible places. I am interested in picturing unreachable places like someone else’s memory or a machine’s imagination when it has developed agency beyond our algorithms. Concerned with the hypnotic loss of understanding of where we are when immersed in the fragmented and disjointed realities in which we participate, I am curious about the point at which something develops from “nothing”; a place within a non-place, attention in hypnosis, estrangement in artificiality.

By interacting with terrains of physical or digital environments, I remember fleeting moments of thrill or extreme sensations like falling, shock, or high brightness, causing us to pay attention. I finds these moments through a cyclical process of automatic drawing, collage, sound, and digital and hand-rendered images. Pit stops in this process become visible as drawings or paintings – a top view or slice of a constantly mutating process of the discovery of new forms fizzing in and out of existence.

In a contemporary world where the singularity of “place” is being replaced by a slippery montage of fast travel and instantaneous communication, what are the new forms of distinct places that begin to develop? Hyperreal data and museum-style documentation presume to extend everywhere and know everything. Lack of mystery and hyperreal brightness bleed into the way we remember – no places or details are supposedly unknowable, yet no location is a distinct “place,” but rather a constantly accessible representation of itself. We even expect our memories to be hyperreal, we want our memories of places and sensations to be reliable and defined, but quick sensations go through entropy; memory is alive not static. By seeking a memory strategy that mimics data storage, we trick ourselves into thinking we have defined irretrievable moments.