DECONSTRUCTED TALES

There are Artifacts and Digressions.

Artifacts are perceptual documents of spaces I explore, intentionally or by accident, and the deflections of 'self' within them. They are the raw data of a place rendered as a state of mind.
Formally, Artifacts are sketches in pen, pencil and charcoal; mostly created en plein air. Sometimes, they are accompanied by photos or videos.

Digressions are what happens with the raw data after internal processing; a kind of feedback loop output of a perceptual system. Inner transmutation, interior weather made visible.
Formally, Digressions are abstract assemblage paintings on canvas, cloth, cardboard or glass, made with found objects from specific places - the bearers of local mythos. The result is semiotically charged, subject to multiple interpretations and resisting a clear explanation.

(Which doesn't mean the explanation doesn't exist. I mostly keep it to myself, mischievously. Preferring to deal with various viewers' interpretations in wonder. Subjecting you to ambiguity and not giving you the comfortable courtesy of a 'right answer'.)

The irony of it all: I deconstruct places and self, doing something that may be vaguely and poetically called the 'archaeology of meaning'. I search for the myth of place and keep finding: trauma - individual turned collective; memories - once vivid, now forgotten and possibly false; cultural narratives - supposedly coherent de facto fragmented.

I document it all and reassemble - the way I can, through my own perceptual system and individual capacity of interpretation. Then I share what I have learned... in a way that has no choice but to get deconstructed yet again to be understood.

So here it goes again, on and on. The neverending process of deconstruction and reassemblage - through minds, hearts, cultural lenses and experiential space.

The neverending process of tale-telling.