Homage embodies my confrontation and emersion in the behavior of images – the orphaning, co-opting, and versioning actions within their flattened hierarchy of our image showing and sharing environment. I amass exhaustive collections of screen shots drawn from Instagram posts and cull the endless variations, modifications, and reinterpretations of images that I find. I seek out iconic works of art and universal visual symbols that, in their orphaned online state, are moved, constellated, shifted and decontextualized but remain identifiable through the indexical grain of photography. I abstract the digital process of continuous translation and transformation across platforms, tailoring software programs coded to iterate my “found” imagery into elaborate and visually complex nonrepresentational “canvases.” My process oscillates between the algorithmic mimicry of geometric abstraction and a returning of the images I corral to being a material of art-making that carries the persistent indexicality of the collective act of showing and sharing our images on online platforms.
I use digital programs as physical tools - distorting, assembling, layering, feathering, and scaling function as my paintbrushes. The found imagery is my paint. This process deliberately reintroduces familiar strategies of chance, subconscious response and even physical gesture that cut against the conventionally-read idea of the strict automation of algorithmic processes. In so doing, I pay homage to the enduring – yet shifting – capacities of photography as a medium fueled equally by inherent indexicality and creative happenstance. Likewise, the resulting outputs onto canvas, paper, plexi and glass explore the still-resonant experience of abstraction and material that Modernists defined and still permeates in our present-day. I work within the space where our image environment flattens source and derivation into nothing more than a vast shared gesture that can be unexpectedly embodied and subjectively transformed through abstraction.