Various Records utilizes a variety of approaches including video, trompe l’oeil painting, and sculpture to look at the physical and psychological relationships between war, trauma, suffering and everyday life.
View Press:
The New York Times
Hyperallergic
ARTnews
Cultured
View Exhibitions:
Solo presentation at the Armory Show 2020.
Various Records at PATRON.
Place/Image/Object at Jack Barrett.
The impetus for this project is a film my grandfather began making while serving as an army psychiatrist in World War II. After landing in Normandy in 1944, he traded a P38 pistol for a 16mm camera and subsequently documented the immediate aftermath of the war, his furloughs in Paris and Switzerland, and the post-war period after he returned home. Over the course of twenty-four minutes the aggressively fragmented film oscillates between the horrors he witnessed and the pleasures encountered in nature, culture, and daily life.
In 2011, I retraced my grandfather’s path through Europe using the film as a guide. The work I have been making in response looks at the physical and psychological relationships between war, trauma, suffering and everyday life through multiple records: the record of my grandfather’s experience by way of the film, the record of my own journey retracing his path through Europe using the film as my guide, as well as the familiar narrative of World War II constructed by institutions, books, and other media.
Various Records utilizes a variety of approaches including video, trompe l’oeil painting, and sculpture to look at the physical and psychological relationships between war, trauma, suffering and everyday life.
View Press:
The New York Times
Hyperallergic
ARTnews
Cultured
View Exhibitions:
Solo presentation at the Armory Show 2020.
Various Records at PATRON.
Place/Image/Object at Jack Barrett.
The impetus for this project is a film my grandfather began making while serving as an army psychiatrist in World War II. After landing in Normandy in 1944, he traded a P38 pistol for a 16mm camera and subsequently documented the immediate aftermath of the war, his furloughs in Paris and Switzerland, and the post-war period after he returned home. Over the course of twenty-four minutes the aggressively fragmented film oscillates between the horrors he witnessed and the pleasures encountered in nature, culture, and daily life.
In 2011, I retraced my grandfather’s path through Europe using the film as a guide. The work I have been making in response looks at the physical and psychological relationships between war, trauma, suffering and everyday life through multiple records: the record of my grandfather’s experience by way of the film, the record of my own journey retracing his path through Europe using the film as my guide, as well as the familiar narrative of World War II constructed by institutions, books, and other media.