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Work TEACHING Blog Commercial CV About Make Payment Menu Work TEACHING Blog Commercial CV About Make Payment Eternity is in Love with the Productions of Time (2016) Time and Eternity are two abstract concepts which seem entangled and discrete. Eternity is in Love with the Productions of Time is visceral, temporal, and in constant flux. Three 4'x8' sheets of gold and silver mylar hang vertically: suspended over two-way silver mylar filled with human breath. The work is shown in tandem with six-channel audio of aural representations extraterrestrial information: gravitational waves, radio, microwave, and electromagnetic radiation, etc. The audio slips out of real-time and is resampled exponentially. The title of the work, drawn from William Blake's The Marriage of Heaven and Hell , opens the intersection of science, art, and spirituality found within metacognitive questions of the infinite. The work functions as a wormhole - inhabiting the space between the infinite and the temporal, the transcendent and the imminent, the physical and the metaphysical. Eternity is in Love with the Productions of Time 48" x 96" x 96" Human breath, gold/silver mylar sheets, silver mylar tape, six-channel audio Eternity is in Love with the Productions of Time (Detail) Eternity is in Love with the Productions of Time (Detail) Eternity is in Love with the Productions of Time Ad Infinitum (2016) 96 Normal 0 false false false EN-US X-NONE X-NONE Ad Infinitum is a space for an alternate, overlooked version of the sublime than conventionally appears in art historical narratives. Unlike the raucous, terror-laden sublime of Burke and Kant which puts human in a position of power over nature through use of our agency of experience, this “contemplarary sublime” arises among whispers in quiet spaces of reflection and is a step removed from the nature-bound modern sublime of immediacy purported Barnett Newman. The three art-objects that comprise Ad Infinitum usher in this “contemplarary sublime” through a proxy; they function as wormholes, creating meditative spaces that give a view into a metaphysical, hypercartesian dimension. Through this sort of looking-glass, the three light-based art-objects and their environments situate a viewer to more readily see beyond themselves, quietly cognizant of infinity and somehow strengthened by its lack of limit. I have had, at junctions, what I would describe as metaphysical, sublime experiences. These experiences were beyond my definition and beyond the scope of my understanding -- unexplainable, unquantifiable, and irrational. These experiences have bolstered and shaped my system of belief and are reflected, though not representationally, within the trinity art-objects, collectively titled Ad Infinitum, which in latin means to infinity . I position my work within an art historical, philosophical, and scientific context, namely as the work relates to Hans Haacke, a hyper-rational artist and his work with closed microsystems, which he called “event containers”. My art-objects take their form from Haacke’s early work, but subvert the original ideas -- trading his closed systems for open systems and his natural fascination with the observable world for suprasensibility and metaphysics. As a note: Ad Infinitum also finds itself curiously scratching at the corners of current astrophysical and quantum mechanical notions of time, space, and our perception of reality. It is my intent these new ideas and possibilities within the work will both diversify and bolster the Barthesian ‘aura’ with which the work operates, allowing for a space of contemplation where the viewer starts at zero and tends to infinity. Sublimis Deus, 2016 Polycarbonate, two-way privacy film, fiber optic cable, light, 46 cm x 46 cm Lux Hominum, 2016 High-intensity LED, heat sink, ultrasonic sensors, Arduino control board 4"x12" Light intensity changes relative to distance as people approach and leave the work. Aurea Lux (2016) Silver/Gold mylar sheet, fishing line, lead weights, oscillating fan, dimensions variable Aurea Lux (2016) Silver/Gold mylar sheet, fishing line, lead weights, oscillating fan, dimensions variable Aurea Lux (2016) - Detail Silver/Gold mylar sheet, fishing line, lead weights, oscillating fan, dimensions variable Aurea Lux, 2016 Silver/Gold mylar sheet, fishing line, lead weights, oscillating fan, dimensions variable Interconnection (2016) Iron-56 is the razor's edge when it comes to nuclear reactivity. The most common isotope of iron divides elements between a bias of fission reactions, where heavier atoms split into smaller atoms, releasing massive amounts of energy, or lighter atoms, which undergo fusion within high heat and high density. Fission is responsible for early atomic weaponry and most nuclear power today. It relies on destruction and decomposition to create staggering amounts of energy, producing large volumes of radioactive material in the process. Fission is not a naturally occurring process. Conversely, fusion combines lighter atoms. Fusion creates 3-4 times as much energy as fission, but requires a dramatic amount of energy to set a reaction into motion. Fusion is responsible for hydrogen bombs, and is optimistically looked at as being one of our great hopes for clean, sustainable energy in the future. Fusion occurs naturally at the heart of stars. On Either side of Iron-56 60" x 40" Archival Dye Pigment Print Every star in the Southern Hemisphere connected to every other star 44" x 44" Archival Dye Pigment Print Every star in the Southern Hemisphere connected to every other star Detail Every star in the Southern Hemisphere connected to every other star Detail Every star in the Southern Hemisphere connected to every other star Detail New Cartography (2015-16) Since the earliest traces of human life on Earth, we have toiled in the landscape, wrestling with it for survival and constantly changing the face of the earth as we expand and draw more on its resources. Some of the earliest remaining traces of civilization are large circles of stone and earth. As I watch the earth get more crowded, I am drawn to ideas of mapping, borders, and marking. As The Heavens Turn 20"x20", Digital Print with Gold Leaf Decommissioned Planes with Concentric Stone Circles, China 20"x20", Digital Print with Gold Leaf Pivot Circles, Idaho, USA 20"x20", Digital Print with Silver Leaf J1, Stone Circle In Jordan 20"x20", Digital Print with Gold and Silver Leaf Slums and Private Golf Course, Nairobi, Kenya 40"x56", Digital Print, Acrylic, Gold Leaf Maps & Charts (2015) Aerial/Ground (2015) 0 0 1 179 1025 Indiana Wesleyan University 8 2 1202 14.0 Normal 0 false false false EN-US JA X-NONE Everything interesting to me happens in the interstitial space that a photograph can demarcate but never occupy. Aerial/Ground is part of a broader examination into the way that photographs relate to each other and the ability for one photograph to bring another to bear. I shop through aerial imagery until I find a location that interests me – perhaps it isn’t visible from a road or perhaps the birds-eye view holds some formal quality that piques my interest. Upon being satisfied with a location (of which the only requirements are that I have never been there before), I note its coordinates and travel to the place in order to photograph it from the ground. I photograph the location physically, utilizing a physical photographic process (a tripod and medium or large format camera) that mirrors my presence in the environment. I take the entire location in, photographing locations to mimic what I experience and see. A high-resolution image of the place is assembled using aerial images and printed alongside a photograph taken from the ground , with both images being of a similar size. The prints create formal, temporal, and physical edges, between which exists the work of art itself. -JN Abandoned Lots Near Sunrise Coffee, Las Vegas, NV Digital Chromogenic Print, 44"x44" 36° 4'20.87"N, 115...