Statement: Lagrangian (2017-Present) series explores the ways in which decorative “containers” impart a shaping force on our notions of home and identity.
By isolating and manipulating pieces of found graphic filigree, compression codes, or mathematic transforms, the work in Lagrangian foregrounds what would otherwise be supplemental, or armature. The work uses the industrial history and materials of cyanotype photography to position the imagery someplace between archival-object and design-object, disrupting a sense of specific/linear time. Similarly, the name likens these filigree to Lagrange Points: naturally occurring areas in space between large bodies where gravity and centrifugal forces equalize, “containing” or holding objects in place with varying degrees of stability.
In Self Portrait (2017), a JPEG image of the artist is rendered in ASCII, binary, and hexadecimal code, foregrounding a ubiquitous but otherwise invisible armature of visual biography.
In Discrete Cosine Transform (2018), features of modern mathematics textbooks are blended with diary-like narratives among photographs referencing home and time. The result is a positioning of these abstract digital tools as colloquial ones, that move across generations.
La Grange #1 and #2, where the series gets its name, digitally isolates found filigree of antique piano scores, rendering them as discrete vessels that might hold things for a user, but also might exist only as an antonymous form.