As an artist, I seek to explore and expand upon the emergent digital landscape of personal memory, identity, and history; as well as the diachronic and synchronic semiotic practices of this medium.

Since the development of indexical and time based mediums of informational and physiological representation, our epistemological and phenomenological understanding of the world has profoundly changed. On one hand there has been an increasing sense of ‘objectively’ perceiving phenomena through such instruments, while on the other hand there has arose the possibility of representing and expressing personal (and marginalized) subjectivities, especially with the increasing availability of such technologies.

Therefore, at this socio-historical junction, I feel it absolute necessary to explore and critique the ways in which analog and digital technologies have changed our topographical definitions of reality, especially those in which are used for political coercion and hegemonic truth claims. Simultaneously though, these available technologies are allowing marginalized and exterior representations of specific politically loaded or socially traumatic phenomena, constructing a larger collective body of experiences and perceptions.

What underlines both these semiotic structures though is the levels of ‘literacy’ to which the presenters and perceivers are able to construct and receive messages, and what affect these interpretations have upon the information that is presented. Thus, I have continuously explored semiotic and linguistic discourses and analyses in relation to the developing new media or post-medium practices of contemporary communication technologies.

Not only then, do I seek to create politically relevant and socially functional pieces of art and criticism, but to also continue developing a new grammatology and semiotic reflexivity in that process; pushing the limitations of both content and form.

Especially considering the powerful potency of time based mediums at this point in history, art has an obligation to utilize such a powerful medium of communication to not merely better itself, formalistically and within the international market, but to also better those who seek to experience and understand the work without having the financial or educational resources to “fully appreciate” it. Art should not cease the expansion of a formalistic language, but it should be able to do so while retaining a sense of accessibility and socio-political relevance in its perception, utilizing its symbolic power to communicate contemporary political critiques and theoretical discourses.

For such a balance could be created and then transmitted to the general population as tools for constructing a new world of abstracted and more universal languages, communicating personal experiences and facilitating individual agency.