The Im­age Maker


Los Angeles Confidential - - Scene -

De­scribe your process. I make du­ra­tional pho­to­graphs, ei­ther on video screens or as printed images. My work is about look­ing, and how look­ing of­ten takes place in time, in du­ra­tion. What is your first mem­ory of mak­ing art? As a kid, I re­mem­ber ly­ing in bed watch­ing the shad­ows and flick­ers of light from pass­ing cars on the walls and ceil­ing of my room. This seemed like pro­jec­tion of the un­known and some­thing that was worth try­ing to cap­ture. How does Los An­ge­les in­form your work?

This city has a lot of space in be­tween things. As a re­sult, there are a lot of unfixed mo­ments. Things can get caught in these ed­dies and form their own logic, which also can make [for] good pic­tures.

What was your a-ha! art mo­ment?

Watch­ing Steve Jobs’s 2004 key­note in­tro­duc­tion of the “one more thing” Ap­ple cin­ema dis­play with 4 mil­lion pix­els. This screen let me put video that looked like a pho­to­graph on the wall of my gallery. That com­pletely changed my life.

What’s next?

I’m go­ing to try and make a film. I started off as a film­maker and re­jected it to make du­ra­tional pho­to­graphs. Now I’m ready to take what I’ve learned from record­ing near-still mo­ments and ap­ply it back to the nar­ra­tive of cin­ema.

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