Woven Nº 31, 2019 62 x 124”  The ancient Greeks imagined the machinery of fate as three women, weaving the lives of human and gods into an enormous tapestry, killing or giving life by snipping or knotting a thread. Through the medium of photography, in my new series  Woven , I imagine myself introducing time and thus mortality, into the lush flora and fauna which make up the millefleurs backgrounds of medieval hunting and falconry tapestries. The 5 x 10 foot photographs sometimes take weeks to compose, and during this process of composition, of collecting, arranging, burning, painting, and transplanting, there is change. Flowers wither, spiders build webs, new shoots emerge, and corpses decay. Influenced both by the Dutch  vanitas  tradition and the allover graphic compositions of Jackson Pollock, I intend the photographs to be experienced as exquisitely detailed still lives when viewed from up close, but to hold together as a immersive, more abstract composition from further away. As I’m constructing the images, therefore, I consider each object both allegorically and aesthetically, using mice to represent evil, for example, but pokeweed juice to enrich the color palette. Although the pieces are all made on the same wooden frame and printed at the same scale, each photograph incorporates a distinct set of conceptual and visual ideas. Some are densely packed with rotting plant and animal life, and others more open, sprinkled with small brightly colored flowers or verdant moss. What is common to all, however, is a sense of opulence which verges on excess, a plenty which verges on plunder. In these elaborately artificial tableaux, the inexorable movements of nature are shown forth and growth and decay, beauty and terror, life and death are woven together.

Woven Nº 31, 2019 62 x 124”

The ancient Greeks imagined the machinery of fate as three women, weaving the lives of human and gods into an enormous tapestry, killing or giving life by snipping or knotting a thread. Through the medium of photography, in my new series Woven, I imagine myself introducing time and thus mortality, into the lush flora and fauna which make up the millefleurs backgrounds of medieval hunting and falconry tapestries. The 5 x 10 foot photographs sometimes take weeks to compose, and during this process of composition, of collecting, arranging, burning, painting, and transplanting, there is change. Flowers wither, spiders build webs, new shoots emerge, and corpses decay. Influenced both by the Dutch vanitas tradition and the allover graphic compositions of Jackson Pollock, I intend the photographs to be experienced as exquisitely detailed still lives when viewed from up close, but to hold together as a immersive, more abstract composition from further away. As I’m constructing the images, therefore, I consider each object both allegorically and aesthetically, using mice to represent evil, for example, but pokeweed juice to enrich the color palette. Although the pieces are all made on the same wooden frame and printed at the same scale, each photograph incorporates a distinct set of conceptual and visual ideas. Some are densely packed with rotting plant and animal life, and others more open, sprinkled with small brightly colored flowers or verdant moss. What is common to all, however, is a sense of opulence which verges on excess, a plenty which verges on plunder. In these elaborately artificial tableaux, the inexorable movements of nature are shown forth and growth and decay, beauty and terror, life and death are woven together.

 Detail, Woven Nº 31

Detail, Woven Nº 31

 Woven Nº 11, 62 x 124” 2016

Woven Nº 11, 62 x 124” 2016

 Detail, Woven Nº 11, 62 x 124”, 2016

Detail, Woven Nº 11, 62 x 124”, 2016

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 Detail, Woven Nº 27, 62 x 124”  2017

Detail, Woven Nº 27, 62 x 124” 2017

 Woven Nº 30, 62 x 160”  2018

Woven Nº 30, 62 x 160” 2018

 detail– Woven Nº 30, 62 x 160” 2018

detail– Woven Nº 30, 62 x 160” 2018

 Woven Nº 1, 62 x 124”  2015

Woven Nº 1, 62 x 124” 2015

 Detail, Woven Nº 1, 62 x 124”  2015

Detail, Woven Nº 1, 62 x 124” 2015

 Woven Nº 17, 62 x 124” 2016

Woven Nº 17, 62 x 124” 2016

 Detail Woven Nº 17, 62 x 124” 2016

Detail Woven Nº 17, 62 x 124” 2016

 Woven Nº 9, 62 x 124”  2015

Woven Nº 9, 62 x 124” 2015

 Detail, Woven Nº 9, 62 x 124”  2015

Detail, Woven Nº 9, 62 x 124” 2015

 Woven Nº25a and 25b, each panel 42 x 21”, 2016

Woven Nº25a and 25b, each panel 42 x 21”, 2016

 Detail, Woven Nº25 a

Detail, Woven Nº25 a

 Woven Nº 23, 62 x 124” 2016

Woven Nº 23, 62 x 124” 2016

 detail– Woven Nº 23, 62 x 124” 2016

detail– Woven Nº 23, 62 x 124” 2016

 Woven Nº 28, 62 x 124”  2018

Woven Nº 28, 62 x 124” 2018

 detail– Woven Nº 28, 62 x 124” 2018

detail– Woven Nº 28, 62 x 124” 2018

 Woven Nº 29.1, 62 x 124”  2018

Woven Nº 29.1, 62 x 124” 2018

 detail– Woven Nº 29.1, 62 x 124” 2018

detail– Woven Nº 29.1, 62 x 124” 2018

 Woven Nº 16, 62 x 124” 2016

Woven Nº 16, 62 x 124” 2016

 Woven Nº 16, 62 x 124” 2016

Woven Nº 16, 62 x 124” 2016

 Woven Nº 4, 62 x 124” 2015

Woven Nº 4, 62 x 124” 2015

 Detail, Woven Nº 4, 62 x 124”  2015

Detail, Woven Nº 4, 62 x 124” 2015

 Woven Nº 21, 62 x 124”  2016

Woven Nº 21, 62 x 124” 2016

 detail– Woven Nº 21, 62 x 124” 2016

detail– Woven Nº 21, 62 x 124” 2016

 Woven Nº 26, 34 x 98”  2017

Woven Nº 26, 34 x 98” 2017

 detail– Woven Nº 26, 34 x 98” 2017

detail– Woven Nº 26, 34 x 98” 2017

 Installation View, Julie Saul Gallery 2017

Installation View, Julie Saul Gallery 2017

 Installation View, Julie Saul Gallery 2017

Installation View, Julie Saul Gallery 2017

Woven: In Process