For just a moment, feel what your body is doing. Can you feel your pulse? Your breath? Can you ignore your mind and inhabit your skins surface? In my art, I am interested in the tactical political praxis that may arise from this sort of consciousness. I spend most of my time producing things that have no permanence—six months of daily walks, anonymous, sometimes hidden sculptures, or, in the case of “John Smith: Hermit&hellip”, a period of seclusion and self-sufficiency.
My art practice has several interrelated loci of activity. What may be most recognizable as art is often documentation and sketches in the forms of photography, video, installation, and drawing. However, getting to the stage of representation often involves an extended period of mindful flânerie, or perhaps living in a cave.
I am particularly interested in our models of political subjectivity and how our everyday actions take can take on radical dimensions. In notions of homelessness, the experience of transience and nomadism, and the creative problem-solving necessary to continue on despite this overwhelming adversity, I see a radical extra-societal subject whose struggles have deep implications for our own role and agency, embedded within a seemingly unyielding cultural superstructure.
Ground Maneuvers
