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THE MANUFACTURED LIKELIHOOD explores my interest in visually understanding identity through physical and imagined space.
How do I notice something while moving through it?
The inherently photographic concept of site-specific land art highlights an artist's intervention while questioning baseline themes of self and place, and self in place.
The outcome and process of identity is formed and developed around an understanding of the likelihood of event (A) happening, given that another event (B) has already occurred.
Fate in lived experience relies heavily on conditional probability. Following this perspective, these works consider: an experience having a known outcome, and/or, an experience having a known process. When existing in undefined space, I have turned to the tangible representation of train travel to present this formula.
It is assumed/understood that both passenger and freight trains, much like a person, will travel a distance on a fixed pathway, moving from point (A) to point (B). The works exhibited explore the mid-point between (A), (B), of largely raw, untouched space, existing both from a train window and in experience. Here exists fabricated randomness, where elements meet in a mid-point and can be manufactured into a desired outcome.
The presented photographs and NFTs (non-fungible tokens) explore intervention and probability that exists within lived experience. Considering both identity of self, and identity of place, works seek to understand what predetermined means, and how I as an artist can interject myself into / shift / evolve fate.
Exhibition sites reference to:
Yoko Ono, Voice Piece for Soprano, 1961, 2015
Robert Smithson, Asphalt Rundown, 1969
Alison Sky: Interview with Robert Smithson, Entropy Made Visible, 1973
Duane Michales, I Build a Pyramid, 1978
Bruce Nauman, Setting a Good Corner (Allegory and Metaphor), 1999
Stuart Williams, Luminous Earth Grid, 1993
Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013 Sam Light (self-reference), BIG JUMP (Long Island), 2017
Instillation first on view October 11-29, 2021 on the Pratt Photography Gallery on Pratt Institute's Campus, 200 Willoughby Ave, Brooklyn, NY 11205.
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