jrecursive · May 29, 2014 22:46
diff --git a/gistfile1.txt b/gistfile1.txt

 ARTIST'S STATEMENT

 "I, a universe of atoms, an atom in the universe." 
 -RPF

 I find myself, and my art, alive in an age where we capture, transform and emit nearly anything we find at the intersection of matter, energy and time: we can create, convert and move matter and energy from one form or place to another, and we can harness time by integrating a strand of echoes within the universe; this sum embodying a new object within the dimensions of matter.  I find myself peering out from within this nexus at a meticulously organized, perpetually boiling universe: an infinite sum of governance emerging from repetition of the smallest, most essential patterns that, at their cusp, form a wavefront of indeterminism that gives life to the moment.

 Technically, I generally start with one or more photos taken with an iPhone that capture reality with an "induced glitch", and finishing with some course of digital processing.  To "induce a glitch", I find the nooks and crannies of the machinery and software of the camera that work together to capture the light around me, purposefully misusing or obstructing them in some way to force it to look in a new, often non-repeatable, way at the natural world.  I find success and joy in the use of pattern-rich source material, human-conceived or naturally-occurring (if there is a difference), having the camera and its purposed but chance-driven malfunction, the computer, and myself as interpretive layers of everyday reality, emitting my finished work on the other side.

 Personally, I see my art as postcards I sent to myself from some other place, some other time, delivered simply because I decide to check the mailbox; I share my art because the rest of the time the universe usually sends nothing but bills.

	ARTIST'S STATEMENT

	"I, a universe of atoms, an atom in the universe."
	-RPF

	I find myself, and my art, alive in an age where we capture, transform and emit nearly anything we find at the intersection of matter, energy and time: we can create, convert and move matter and energy from one form or place to another, and we can harness time by integrating a strand of echoes within the universe; this sum embodying a new object within the dimensions of matter. I find myself peering out from within this nexus at a meticulously organized, perpetually boiling universe: an infinite sum of governance emerging from repetition of the smallest, most essential patterns that, at their cusp, form a wavefront of indeterminism that gives life to the moment.

	Technically, I generally start with one or more photos taken with an iPhone that capture reality with an "induced glitch", and finishing with some course of digital processing. To "induce a glitch", I find the nooks and crannies of the machinery and software of the camera that work together to capture the light around me, purposefully misusing or obstructing them in some way to force it to look in a new, often non-repeatable, way at the natural world. I find success and joy in the use of pattern-rich source material, human-conceived or naturally-occurring (if there is a difference), having the camera and its purposed but chance-driven malfunction, the computer, and myself as interpretive layers of everyday reality, emitting my finished work on the other side.

	Personally, I see my art as postcards I sent to myself from some other place, some other time, delivered simply because I decide to check the mailbox; I share my art because the rest of the time the universe usually sends nothing but bills.
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