I grew up in New Jersey, New York, Nashville, and Atlanta. Both of my parents went to the School of Visual Arts, and so perhaps there is some genetic or environmental explanation for my activity as an artist.
From an early age, I have played music.
I attended Vanderbilt University and studied Philosophy and East Asian Studies (a double major). I did not study art, although I did take several art history courses. I felt an immediate loss of confidence with art, or rather with its experience, presented in an institutional and theoretical manner.
I found an interest in topics in Philosophical Aesthetics, perhaps only because they are easy to argue. As an undergraduate, I worked at WRVU, establishing an overnight 'free form' format: a novelty at the time. I also wrote for the campus newspaper, a monthly column on the arts. In my sole 'popular' article, I described a fictitious meeting with hair metal goddess Lita Ford.
I received an M.A. (Philosophy) from the University of Hawai'i (Manoa), and lived on Oahu for six years -- I still consider it a second home.
The majority of my income in the intervening years has come as a graphic designer. Lately I have sought to dramatically decrease my income, with great success.
My artistic activity has directed itself almost wholly toward the non-canonical. I create outside of the institutional artworld: out in public, rather than in museums, galleries, or private collections, and engaging the wide public, rather than a self-defined artworld audience. I stress that the reason for this is not a reaction against, but rather a natural inclination. I have never sold art objects for personal profit, although I have offered objects to fundraising causes.
A secondary result of operating outside canons is to underscore the arbitrary authority of any art canon, beyond its simplest form: an individual encountering something created by someone else. My approach also strives to create the opportunity for this more direct experience, which is to say, one less (but not entirely un-) mediated by systems of aesthetic pre-determinancy.
I wrote this bio for a guest lecture I gave at GSU on the ephemeral in art. I spent the morning, unannounced, in the elevator lobby of the Art & Design school, under a sign: "Please Donate Art Supplies." I begged passing art students to give me any art supply they could -- scrap of paper, nub of pencil. The reaction to this was exactly the same reaction we have when pan-handled: avoid eye-contact, awkwardly say, "sorry, I don't have any." Earlier, I'd found a worn out Bic pen at the very moment I exited the parking garage, and after some hours of non-success begging, I went upstairs and found, in the garbage outside my friend (architecture professor)'s office some very large sheets of plotter paper, with only very light lines on them. I did this large drawing:
I also brought along some tiny, battery-powered musical devices. Here is a video which has some of that, also it shows some other drawings I made, with the art supplies I brought with me:
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