-
DRAWING, WRITING, ETC.:
–New Miscellany (2016-Present)
–Drawing Group (2015-Present)
–A slight so egregious it lingers beyond the dream (2015)
–The House without Orifices
(2014)
–Oversized Beneath the Percolator
(2014)
–Untitled/Unpictured (2013-2014)
–Excerpts (2007-2012)
–Bonfire Night (2012)
–Whispers Project (2011-2012)
–Paolo vs. “The Man” (2011-2012)
–Dicework II (2008-2009)
–The Dead (2008)
–Dicework I (2008)
–The Messier Catalogue (2007)
–Brushstroke Diagrams (2006-2007)
–Tell Me What to Paint (2006)
–Miscellaneous (2005-2006)ABOUT:
Lives and works in Vancouver, Canada. Primarily interested in the following: a) Visual and textual lines; b) the antiseptic tempered by a quiver of the handmade; and c) the diagrammatic and/or explanatory, especially when cloaked in ostensible self-importance without necessarily being true, serious business. Adherence to stringent procedural methods allows for an iterative exploration of the above concepts ad infinitum [read more].
–CV
–News
–Contact -
LINKS:
–andthefansroared
–Art for Life
–Art Waste
–bric-à-brac studio
–Christopher Sage
–Cody Rocko
–Copy
–Courtney Johnson
–The Dead 2
–Grand Union
–Hollingworth & Davie
–Jesse Gray
–John Russell
–Jordy Hamilton
–MAKE // BREAK // FIX
–Marina Roy
–Nice Things
–Nick Lakowski
–The Pleasant Matthews
–Tim Dixon
–VerySmallKitchen
–Whispers Project -
Site powered by WordPress.
WORK: fiction
COPY \\ unfold
This is very old news, but some years ago I made a contribution to COPY’s edition Unfold.
ut/up-2013-t-0001
“Ronette is delighted to discover that ‘belligerents’ is a noun.”
“Malleable identification, as the boy has taken it on, has not been a liberating experience, but it has been a relief.”
2012. Ink on paper. 10 x 7.5 in.
“Such stringent guidelines governing self-identification may seem arbitrary presently, but he’s borne names prior to this one which did not allow for any hair growth at all. [ . . . ] These are but a few of the instances in which he finds that only specific decisions can ever be made. Fluid identity has not turned out to be the liberation he anticipated.”
2012. Ink on paper. 7 x 7.5 in.
“To be clear: Those names did not engender relentless pruning regimes. Rather, each name – for the entirety of its active duration – rendered hair growth biologically impossible.”
2012. Ink on paper. 6.75 x 7.5 in.
VSK Residency Repost 6
“After wasting several hours working on this musical project, Nathaniel realizes that there is no possibility of ever listening to a completed version of the track. For the music to become infinitely slower as playback progresses, it can never reach its end. To listen to the work in progress would be to listen to something both incomplete and complete at the same time. The unfinished project has not accomplished what is intended of it, and yet it will play to a point of completion. The completed project has attained a goal, a conclusion, but an infinite repetition of technique is required of Nathaniel to enact the proposed design. To declare “done” is to quit the project. In all ways conceivable, the work can never be finished. To listen to it at any stage, no matter how close – or not close – to being what he wants it to be, is indicative of failure.”
2011. Ink on paper. 8.5 x 6.75 in.
This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.
VSK Residency Repost 5
“The tune will not loop, but instead continue to play toward its unattainable termination while steadily reducing speed. Nathaniel attempts to achieve this by creating points on the sound file’s timeline and stretching them apart. The first point is a nanosecond from the start of the track. The second point is initially a nanosecond from the first point, but Nathaniel increases this distance to two nanoseconds. The distance continues to increase in ever larger proportions between each successive point. Eventually, there will be a distance between two points that is too long for Nathaniel to comprehend. Nathaniel refers to this as Segment X. Inconceivable is how much greater the length of the subsequent segment is to that of Segment X. Equally inconceivable is how far less the length of the preceding segment is to that of Segment X.”
2011. Ink on paper. 8.5 x 7 in.
This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.
“[ . . . ] but he’s borne names prior to this one which did not allow for any hair growth at all.”
2012. Ink on paper. 7 x 7.5 in.
VSK Residency Repost 4
“The music gets slow quickly, and gets slower slowly.”
2011. Ink on paper. 8.5 x 7.25 in.
This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.
VSK Residency Repost 3
“He has been lying on his stomach for the past ten minutes. Feeling dejected, he lifts himself up from floor, and powers up the computer terminal in the wall. He swiftly navigates through a tree of subdirectories and starts up a hidden rudimentary sound editing program that he had discovered just last week. Once the software is running, he opens one of the three sound files contained on the hard drive – this one is a nondescript piece of soft jazz, most likely preloaded for demonstration purposes. Nathaniel begins to edit the timeline of the tune, attempting to slow it down gradually so that it will never play through to its end.”
2011. Ink on paper. 9.5 x 6.75 in.
This image-text pairing originally appeared on VerySmallKitchen as part of a 3-month online residency.