The works shown here are mixed media and mostly collage incorporating erasure or sous rature,

an idea developed by Martin Heidegger involving the crossing-out of a word within a text while allowing it to remain legible and in place. It signifies that a word is “inadequate yet necessary” in that the word isn’t completely suitable for the concept that it represents but must be used as the constraints of our language offer nothing better. The works are inspired by self reflection and are process and materially driven. Some works incorporate readymades, a notion coined by Marcel Duchamp to describe prefabricated, often mass-produced objects isolated from their intended use and elevated to the status of art by the artist (Readymade: Moma). Using readymades in my works, I look to Marcel Duchamp’s series of readymades for questions about reproduction and altering a reproduction, and thus the critique on any reproduction after it.

My works altar an already produced image while asking questions about labor and art. What is the original, and is there one? “It’s the viewer who completes the work”- Duchamp.

My works also incorporate detournement, an abbreviation for: détournement of prefabricated aesthetic elements. Détournement is the integration of past or present artistic production into a superior environmental construction. Detourned painting, or d’tour de mont in French, are already painted paintings in which the artist adds their own to it. My work remarks on this notion as well as the Situationists, a 20th century avante guard movement from 1957 -1972 in which the people who came out of it, named Lettrists, were influenced by surrealism and had an idea of automatic poetry and the unconscious . You will see such inspiration in my works.