Static 13, 2009
Untitled (Static), 2006
Static (Untitled), 2006
Static (Untitled), 2006
Static (Untitled), 2006
Static 4, 2003
Static, 2002
Static (Black Prototype), 2007
If silence is an important aspect of music than it must have its own rhythm. I am interested in working with aspects of time and rhythm and also with their close compatriot static through the use of repetitive marking and its relationship with the rhythms of poetry and music. I have also been committed to referencing a shared idea of home, the domestic arena, by using methods and materials that are commonly available there.
One way I have done this is to repeatedly exploit the daily newspaper. I have worked with Obituaries, Weather, Sports and other sections. One day I flipped the Metro Section over and was struck by a relic of my childhood; the television program listing. Here was, literally, a rhythmic organization of time and content laid out in diagrammatic form. It was a simple matter of work to collage together longer sequences — a day, a week, a month or more — and make drawings, as I had in the past, by redacting the text.
The early pieces in the Static series use correction fluid to cover over text from the New York Times television program listings. As the project progressed and I discovered that different papers had different ways of organizing the same information across time, including in some cases using color, I expanded my source material and began to use black marker for the work.
The Static series, by process of redaction, contain nothing while also being pictures “of” everything all at once. Looking at the primordial soup of all data is, of course, just like looking at undifferentiated nothingness. It is both constant motion and absolute stasis.
All Image Credits: Tom Powel Imaging
