There was a noticeable shift in aesthetic and process when I decided to smash fruit with a hammer on the basement floor of our house in 2014. I photographed the smashed fruit under a harsh overhead flash with black and white 35mm film. The crime scene tone of discovery would continue through as an important element in future narratives like Shelly Seashore and Robert Koons. Smashing the fruit was not only therapeutic but introduced participation as a preferred approach to art-making. It lead to assembling sets, building temporary sculptures and curating nearly every aspect of the photograph. I asked “why not?” often, any origin of inspiration was fair game. What proceeded the described body of work Tattle-told, was a collection of fictional narratives and personal, potentially shared observations of the human experience. For example our literary history and what selectively survives generations or a necessary cynicism towards an oven mitt trying to convince a decision to consume a beef and cheddar sandwich is the correct one. (Though it should be mentioned his job was recently replaced by “we have the meats” guy.) I continue to shoot black and white film for it’s ability to hold subject matter within a fluid time-line. Taking improbable, hypothetical situations and presenting their truthful existence, somewhere.



CV available upon request