Your piece Enchanted Loom is described on your flickr as a self-portrait and shares an aesthetic that seems to be captured by many of your recent tableaux of being a sort of digital cabinet of curiosities, with an obsessive arrangement of openings and secret compartments. How do you see it functioning as a portrait?
I like to think of a lot of my work as portraiture in the sense that making a portrait means exploring the essence of an entity by representing it in an alternate form. I play with the idea that reality is a trippy entity that I can learn more about by making poetic models of it. I take long walks every day and try to focus completely on the textures of the sidewalks and plants and the arrangements and sequences of all the sensory elements that i encounter. Then I use my computer programs to craft textures and shapes that correspond with those observations. Obviously I approach the whole thing really playfully, which opens me up to recieving all kinds of wacky imagery through my inter-dimensional-entity-radar.
Your physical installations do an extraordinary job of capturing the feeling of your digital images - or perhaps vice versa? How do your installations and digital compositions inform one another, and is there anything you hope to find in one that is absent in the other?
Working in a variety of mediums is really important to me. My digital collages, physical installations, videos, websites, sounds and my collaborative performance projects are all completely intertwined. Each mode of working has a special structure to it that resonates my mind with its unique frequency. Regularly working in multiple mediums crosses those frequencies and expands the complexity of my mental framework! For instance, if I’m working on recording sound, my brain molds itself ...