TO THE SEA, TO THE SEA, TO THE SEA
To the Sea, To the Sea, To the Sea looks toward distant ocean horizons, drawing upon the universal human urge to gaze beyond the water's edge. These images are created using global webcams whose live video feeds offer free passage to bodies of water near and far. In an increasingly surveilled world, To the Sea, To the Sea, To the Sea turns the all seeing webcam into a conduit to beauty. Created from a position of anonymity and safety, the original captures are transformed into abstractions that gesture toward the idea of seascape.
The soft-focus, broad washes of color nod to the canvases of Mark Rothko as much as to the photographs of Hiroshi Sugimoto and Uta Barth. The images observe incidents of light and weather and embrace the technical aberrations and limitations of the external webcam. Grids and multiples examine permutations of light, weather, and water in single locations or present disparate places as tied by color and theme.
When the streaming vistas inadvertently reference conventions of 18th and 19th century landscape painting, they are painstakingly replicated as "diamond art" and needlepoint canvases. These romanticized, domestic objects function as souvenir and locus of longing, removed and repossessed from their original source and art historical tradition.
Through these processes, the specifics of place are deconstructed multiple times over, rendering the far flung locations as universal and available to all. They bring the sea to the viewer and the viewer to the sea.
Selections from To the Sea, To the Sea, To the Sea, 2023-present
The soft-focus, broad washes of color nod to the canvases of Mark Rothko as much as to the photographs of Hiroshi Sugimoto and Uta Barth. The images observe incidents of light and weather and embrace the technical aberrations and limitations of the external webcam. Grids and multiples examine permutations of light, weather, and water in single locations or present disparate places as tied by color and theme.
When the streaming vistas inadvertently reference conventions of 18th and 19th century landscape painting, they are painstakingly replicated as "diamond art" and needlepoint canvases. These romanticized, domestic objects function as souvenir and locus of longing, removed and repossessed from their original source and art historical tradition.
Through these processes, the specifics of place are deconstructed multiple times over, rendering the far flung locations as universal and available to all. They bring the sea to the viewer and the viewer to the sea.
Selections from To the Sea, To the Sea, To the Sea, 2023-present
Grids
Vistas
