A light shines through the darkness

Artists surveyed in this exhibition include Mary Corse, Donald Judd, Francois Morellet, Blinky Palermo, and Anne Truitt.
spring 2019
available on Mac OSX and Windows at itch.io

A LIGHT SHINES THROUGH THE DARKNESS is a fictional, simulated exhibiton of real artwork found on view at the museum of Dia:Beacon. Drawn from the artistic parallels between the forms of minimalism and early video games, the simulated exhibition asks questions about the future of the art gallery in evolving digital spaces, from authorship to affect to autonomy.

The exhibition is modeled after the Atari 2600 game Adventure, but replaces object signifiers with the artworks from Dia’s collection. In the paintings by Mary Corse and Blinky Palermo, one can see the formal similarities to the rooms displayed in the Atari game; from this starting point, the exhibition was first “curated” as an extension of asking a question about play:

Can simulation open the doors to greater accessibility within artwork and more creative, experimental curation, or does the degradation of  affect then affect our abilities to experience artwork in any meaningful way?

The push-pull narrative between the artists and curators as the authors of this exhibition are here made into a game the same way the games of the 1980s asked us to author our own narratives to make the artwork compelling. What is site specificity when the site is a simulation? What is the exhibition without the object?


The painting generator

The painting generator is an award-winning simple code that takes a pre-catalogued network of painted symbols common to abstract images and, upon release of the enter key on the keyboard, generates these symbols within a set parameter of space. The appearance of each symbol and its hue, value, saturation, luminescence, and brightness are all randomly generated. The ground plane is generated within parameters of lighter value for ease of readability.

The Painting Generator was orignally exhibited accompanied by a quote from William J. Mitchell, 1995:
Once you break the bounds of your skin in this way, you will also begin to blend into the architecture. In other words, some of your electronic organs may be built into your surroundings. There is no great difference, after all, between a laptop computer and a desktop model, between a wristwatch and a clock on the wall, or between a hearing aid fitted into your ear and a special public telephone for the hard-of-hearing in its little booth. It is just a matter of what the organ is physically attached to, and that is of little importance in a wireless world where every electronic device has some built-in computation and telecommunications capacity. So ‘inhabitation’ will take on a new meaning-- one that has less to do with parking your bones in architecturally defined space and more with connecting your nervous system to nearby electronic organs.

fall 2017, interactive digital media (defunct)

Is this for lovers or are we just friends?

sign, fall 2019

Taking a hint from Baudrillard’s Ethics of Labor, Aesthetics of Play, sculptures based on street signs function as a subtle way to enter the semi-conscious; such complex objects, made to be both noticeable for drivers, yet blend in with the ephemeral, changing landscape of the passing car window, road signs function as subliminal messages from a higher order of road conduct that instructs us on how to behave.

What, then, can sub-liminal, semi-conscious objects that exist only in the periphery of our perceptions accomplish in other orders? Are there messages we can convey in such short bursts of information? Can we, collectively, come to a shared interpretation of meaning from fragments of information spread throughout the topology of our cohabited urban space?

This sculpture was part of the Terrain Biennial in Portland, ME, 2019, kindly hosted by the VIA Design Agency.


Art by Telephone (for Lovers)

performance, summer 2019

Art by Telephone (for Lovers) functions as an exploration into the purpose of performance and theatrics in “fine” art as a way of making art accessible and the gallery a welcoming space. Several elements of the performance, staged as a series of activities by willing participants, are drawn from the 1997 publication Do It by Hans Ulrich Obrist and Independent Curators Incorporated. Under the overarching theme of replicating Jan Van der Marck’s Art by Telephone (1969) in a single space with a lover’s telephone, participants re-performed pieces by Erwin Wurm, Yoko Ono, Maria Eichhorn, and partook in several new ones created for the opening itself, at the request of the artist through the lover’s telephone.

Generally, the objective of the performance was to investigate the nature of art as play, how games with few rules function in a normally strict space of an institution, and how the gallery can be deterritorialized as a neo-fluxus space.

pictured above: lover’s telephone, instant photos of participants performing False/Right, Right/False (orig. Erwin Wurm, 1996)

pictured left: participants created objects that read “I have no interest in making objects.” participants took photos of up to three things found in the gallery that they would not categorize as art, then attached them to the gallery wall.

above: Yoko Ono’s Painting to be Stepped On, 1961, recreated. Also, the wall on which objects created during the evening were displayed.


wfm: yearning (for boobs)


Returning to the depths of Craiglist to source my art (a lá MESSAGE IN A BOTTLE, 2017), I, for the first time, took an active role in the process: I allowed myself to be seen and manipulate what was once just a passive landscape where I would quietly observe the remnants of web 1.0 dwindle in the post-social-media network.

I posted that I would send pictures of my boobs in exchange for the story of a first crush.

spring 2020, zine