The work is built from two rolls of found film with images of a white American family and their friends in a suburban environment. In some of the photographs the daily life of the family is interrupted from its normality by the appearance of a Nazi swastika. The origin of the film is most likely the city Bakersfield in California.<\/p>\n
Between the 1890\u2019s and 1960\u2019s the sense of normality\u00c2\u00a0occupied\u00c2\u00a0by those living in white privilege, shifted from stable supremacist legal definitions and territories backed by state violence to more psychological and\u00c2\u00a0mythological\u00c2\u00a0positions of violent projection and fantasy. The hyperbolic scale of this brutality is still felt on\u00c2\u00a0many\u00c2\u00a0levels in the United States, hidden and dark as the muddy mold on a flag left in the attic, rotten and constantly growing through the reproduction of whiteness as an affiliation with death.<\/p>\n
I respond\u00c2\u00a0through abstract tempera paintings, a selected printing of the two film rolls, in an installation with disrupted glass panels. Hereby creating a context for an emotional\u00c2\u00a0appraisal of an aspect of American culture, one that is rarely self-described, because to do so would demand defining the core as founded in racism.<\/p>\n
Featured in 2016 at Wilfred Lentz Gallery, 2015.\u00c2\u00a0View Installation\u00c2\u00a0here<\/a>.<\/p>\n Also presented at Robert Miller Gallery ++++++<\/p>\n And The Vienna Biennial +++++<\/p>\n <\/p>\n <\/p>\n\t\n