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In an era increasingly dominated by the proliferation of digital media and the rapid ascendance of artificial intelligence, the ontological status of the artwork—and by extension, the artist’s hand—has become a contested site. My practice is deeply embedded in this tension. Now more than ever, I find myself compelled to assert the analog authenticity of my work: to demonstrate, often against suspicion, that my objects are not algorithmically generated simulations but tactile, material creations forged in the physical world.
Working in a space between the subconscious and the industrial, my production process resists linear logic. Rather, it emerges through intuitive gestures, dream logic, and the kind of accidental formalism associated with automatism. Yet the resulting objects carry the visual vernacular of mass production—structured, repetitive, and mechanically precise. This deliberate ambiguity invites questions of authorship and labor, evoking parallels with the aesthetics and early Conceptual Art, while simultaneously subverting their historical reliance on industrial fabrication and delegated production.
By mimicking the appearance of machine-made goods through painstaking manual processes, my work challenges the viewer’s assumptions about labor, craft, and authenticity. It draws upon the legacy of artists like Eva Hesse, whose materially rich yet systematized forms hovered between the personal and the industrial, and Allan McCollum, whose serialized, hand-crafted multiples blurred the line between the unique and the mass-produced. In this way, my practice situates itself within a lineage of artists who critique systems of value and reproducibility—not by rejecting them outright, but by subtly inhabiting and reframing them.
Ultimately, my work is concerned with presence: the presence of the hand, the presence of time, and the presence of a human consciousness resisting abstraction into data. In navigating the porous boundary between the digital illusion and the embodied real, I aim to preserve a space for ambiguity, contradiction, and the tactile residue of making.