just this tree:

Biomorphic horror is all well and good, but sometimes silliness is indicated.

The second wall is complete.  I somehow find this one more alarming than the first, which is… promising, I think…

The image below is the first of three that I’ll be using for a planned installation:

The completed images (entirely digital) will be projected onto the walls at approximately 8′ tall- large enough for the individual pixels to be visible.

Unlike previous works involving similar imagery, I’m shooting for something slightly beyond the aesthetic here.  The images deliberately evoke traditional painterly qualities, i.e. gestural markmaking and smeared paint (the latter of which is simulated), as well as equally traditional subject matter- figures and fruit, in particular.  Nonetheless, the images and their presentation will be emphatically immaterial.  Briefly, materiality is the true subject of the piece- my own conflicted relationship with it, and its ambivalent status in contemporary art.

I’ll be posting the other images as they’re completed; I welcome critique!

“The Medes came closer, past larger landings, signs of habitation, more switches, electrical wires, lighthouses warning of weak-railed patches, & nasty rocks & reefs & pylons spreading and electrifying certain rails for trains that could run on that current, & then trains themselves, suddenly, shuffling or motionless, trains of every possible kind ranged around a great rocky land.  On its shore, a city.  A place of towers & an architecture of scrapyard ingenuity and awe.”

China  Miéville, Railsea