My work examines the porous boundaries between humans, nature, and technology and projects a future in which the divisions erode. My current project, GLITCH (eye in the sky) is a series of paintings, drawings, and installations that find their source material in digital landscapes. The work begins with screen grabs taken from Google Earth. I move through the program like a cyborg, genderless, bodyless, instrumentalizing the drone’s eye, looking for glitches. Glitches are precious to me - they are the moments that surveillance fails, and I invest them with the power and potential to be anything. In this liminal space, we are not fixed by the computer eye.
Over the years I have learned how to trick the program to let me inside of spaces that are not mapped, specifically within skyscrapers. Swiping myself inside, I watch the concrete coldness of New York explode into gradients, architectural lines, and seemingly random color. What were once errors in the program become new landscapes that exist in a new dimension, which I then render faithfully in paint or pencil. I think of this as plein air painting in digital space, a kind of observational abstraction. I study these images intensely, zooming in and out to capture every detail, and feel as though my intense attention invests these images with physicality, forcing them to exist in the real world. In my application of paint, I juxtapose soft, smooth strokes with hard, taped lines, evoking both the freedom, expansiveness, and boundaries of digital space. I want the viewer to lose themselves in open spaces, then crash into a wall. By digitally sneaking inside skyscrapers and transforming them into new worlds, I enact an ephemeral fantasy in which we can steal back power from the machines - both literal and structural - that rule our lives.