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Double Kennedys
Charcoal and soft pastel on paper
56 x 25 in
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I use found photographs to create large-scale drawings that explore contemporary conceptions of the subjectivity of the author, the agency of the viewer, and the ever-shifting ground in any consideration of the ‘original’ in an age of reproduction.

While ostensibly faithful to the source material in their photo-realistic level of rendering, these drawings make subtle and unsettling departures from their photographic forebears in the form of selective re-croppings, exaggerations of scale, conspicuous deletions, and digital distortions. These alterations highlight the interposition of both artist and viewer in the re-creation of the photograph’s subjective meaning and the recasting of the photographer’s presumed intent. The act of drawing and the act of looking equally become exercises in narrative overlaying, such that a new understanding of the image is born from our own improvised conjectures and imaginative leaps. Such processes enable us as viewers to reconcile ourselves against the backdrop of history, and these drawings aim to draw attention to the unseen mechanisms by which we are constantly re-contextualizing our own lives and the lives of others in relation to a comprehensible historical narrative - real or imagined - or even placing ourselves outside of history altogether. Rather than regard photography as an affirmation of our separation from the past, in terms of the physical and temporal, these works function as active examinations of our ceaseless psychological projection onto and into the space of photography, and the infinitely ramifying reinterpretations of reality that result.