Black Holes

Artist Statement


My practice, which is a constant negotiation between the conceptual and the affective, operates on multiple levels of abstraction and appeals to the nature of thought’s relation to the un-thought. Black Holes, which stand for uncertainty and not knowing, are tied to complex issues of memory and expectation, but if consciousness fails to do justice to the full depth of things, and we can be taken by surprise by something that lies outside our relationship to these things, something new can arise apart from our knowledge of it.

 Although black holes cannot exist in physical terms, their immaterial nature becomes real by way their surroundings and this activity mirrors the production of works of art. The Black Hole paintings and drawings, which exhibit a laborious craftsman-like quality associated with tapestries, are executed by way of dense rows of consecutive ‘stitches’ that mark the passage of time and become the very basis of the production of the appearance of the ‘hole’.  Thousands of tiny, single digits embroider a train of thought that carried out through a kind of automatism or trance-like state.  What comes into being from the textual chain liberates the hole and gives back an image assigned to the place of the un-thought.

 Theoretically, Black holes suspended within a galaxy of stitches are constituted through the fabric of time.  Time, which is an absolute outside that exists whether we can think it or not, when incarnated into works of art cannot be observed directly but it can be experienced in a certain volume of space through sensory qualities like color and shape.  These qualities, which represent modes of relation between individuals and their surroundings, are incompatible with living beings because their reality is one of signification. To revisit works of art is to speculate on whether it appears in the way it is described or if it is something that comes into being with consciousness of its spatio-temporal forms. For purposes of interpretation, the art is defined from within cognitive limitations, but if art is part of a universal continuum, and thought is not distinct from the material process of production, it is possible to describe the impossible position of the absolute.  


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