Process
My work explores what interpretation does.
It begins with a simple question: what happens when human complexity passes through systems of interpretation?
• How does someone really see who we are?
• How do we decide who someone is?
• What information do we trust?
• What information do we ignore?
• What is lost in the process?
• What survives interpretation?
Every project approaches these questions differently.
Institutions interpret people.
People interpret themselves.
We interpret language.
We interpret possessions.
We interpret appearances.
We interpret performance.
Ultimately, my work is about what interpretation does.
TERMS & CONDITIONS
Under Continuous Review
The portraits in Under Continuous Review are generated using AI to avoid assigning procedural judgments to identifiable individuals.
Each portrait is subjected to an evaluative sequence generated independently of the image itself using a limited set of authored operational variables. Once initiated, the sequence runs without intervention.
Each evaluation begins with a dichotomous pair selected from an authored list, including:
Overly Accommodating / Resistant to Collaboration
Overly Personal / Insufficiently Relational
Fails to Establish Presence / Overbearing
Strong Leadership Qualities / Natural Team Player
Results-Driven / Process-Oriented
Calm Under Pressure / Energized by Challenge
The active evaluative pair may be repeated, reversed, or replaced. Toggle reverses the active pair, while System Override introduces a new evaluative framework.
The process intentionally separates evaluation from the individual being evaluated. The system proceeds according to its own operational logic, demonstrating how procedural judgments can accumulate independently of the person they purport to describe.
Record 061
Apply
Repeat
Repeat
Toggle
(System-generated sequence.)
Record 038
Apply
Repeat
Toggle
System Override
(System-generated sequence.)
Credibility Index
Credibility Index begins with an initial system-generated evaluation of an individual identified only by a Case Number. The evaluation is based on undisclosed criteria.
This preliminary assessment produces a credibility score before any interaction takes place. The initial score carries considerable weight, reflecting the influence first impressions often have on subsequent judgments.
A second phase introduces additional observations, bonuses, and demerits, resulting in a revised score.
An unexplained adjustment is applied during the process.
The system deliberately withholds the logic behind its calculations. Like many systems that assign credibility, its conclusions appear objective while the criteria that produce them remain largely invisible.
OBJECTS OF MEASUREMENT
Objects of Measurement begins with familiar systems of evaluation, classification, interpretation, and self-improvement drawn from everyday life.
Each piece isolates or exaggerates a recognizable object, interface, artifact, or ritual associated with judgment, measurement, status, or value.
The works retain the visual language of expertise, authority, and cultural signaling while introducing subtle distortions, contradictions, and absurdities.
By altering familiar systems only slightly, the work invites viewers to reconsider the assumptions those systems quietly encourage.
TAXONOMY OF IMAGINED LIVES
Each work begins with a familiar social signal—a shopping bag, a piece of style advice, a luxury home, or a professional persona.
These fragments are treated as evidence from which imagined lives are constructed. With only limited information available, the work follows the assumptions, projections, aspirations, and expectations that quickly accumulate around them.
Rather than inventing fictional characters, the project reveals how easily ordinary details become the basis for narratives about identity, status, belonging, and value.
Each work begins with an ordinary social exchange.
Rather than recording conversations, I reconstruct them from memory, paying particular attention to the gap between an immediate thought and the words ultimately spoken. Every sentence has an earlier, unseen draft.
The two versions are paired: what I want to say and what I do say. The physical distance between them is determined by the amount of translation required. A small adjustment produces a short work; a greater social negotiation produces a longer one.
The pieces are installed at varying lengths so that translation becomes visible as a material property. Language, usually experienced only in time, is given physical dimension.
The resulting works are neither transcripts nor fiction. They are measured reconstructions of the continuous editing that accompanies everyday social life.
SIMULTANEOUS TRANSLATION
FATE UNKNOWN
The project records objects during a brief period of uncertainty: after they have ceased to belong to someone, but before they belong to someone else—or to no one at all.
Each object is discovered in the shared Club Room of my apartment building, where residents leave behind possessions they no longer want but cannot quite bring themselves to discard. Some disappear within hours. Others remain for weeks. Their ultimate fate is unknown.
Without altering or claiming the objects, I photograph each one against a white background and catalogue it using the conventions of museum and commercial documentation. Only observable facts are recorded: title, dates of appearance and disappearance, dimensions, condition, and status.
The artist never acquires the objects. The work consists solely of observation, documentation, and cataloguing.
The resulting archive documents a familiar but largely overlooked moment in the life of an object—the interval between ownership and an unknown future.
GRID
The Grid is an evolving space for thinking in public.
It began as a daily practice. Over time, it has become something else.
Rather than documenting finished work, the Grid is now part of the work itself—a place where ideas emerge through recurrence, disruption, sequencing, adjacency, and mutation.
Images, gestures, motifs, and texts return in altered contexts. Meaning accumulates not through explanation, but through proximity. Nothing exists in isolation. Each addition changes the relationships among everything that came before it.
The Grid is both archive and laboratory: a record of an evolving practice and a conceptual work in its own right.
FIELD NOTES
Field Notes collects observations, questions, fragments, and recurring themes drawn from everyday life. Some remain notes. Others eventually become projects, texts, or artworks.