Increasingly, I’ve been thinking of artwork in relation to how information is processed. Whether in connection with our brains, quantum mechanic shenanigans, or the algorithms developed to trade stocks at speeds and sizes that no one on Earth seems to understand, what I find so interesting is that this processing is largely invisible. We can predict and feel its effects, but for the most part we really can’t see these sets of actions that underlie every thing we do, and are, as a species. So I’ve been exploring ways to enable and provide context for these invisible trespasses. One way to do this might be through, what I think of as, a simulated or ulterior focus: to present an object or collection of objects that, by the very nature of its false, fraudulent beginnings, must by necessity act more as a conduit for the formation of mental objects; connections between neurons, and where the real target is thus a space after the senses.

A perhaps unexpected role model for this idea can be found the Counterfeiting Industry. I can think of few other industries where objects are presented with motives so precisely ulterior, but where there’s also such wonderfully perverse ingenuity and innovation accompanying the trade. In making “Untitled: Chemical Compounds Used in The Production of Counterfeit Poultry Eggs,” I thought, why not copy the counterfeiters? Why not hunt and gather the information used by the dissimulators, and present that information in the form of ingredients. Maybe connotations of falsity and hoax that surround the industry can be reverse engineered by partaking in a kind of bankrupt mimesis that I think all too easily finds a friend in an increasingly profit-driven art market.