I use objects, materials, processes and/or entities. I use them with intention, under the standard-setting threshold of a project. Not only is it a project, these objects, materials, processes and/or entities are “projected” through intention, which—temporarily—makes them into a sign. Viewers receive these signs. I change them. I re-use objects, materials processes and/or entities. I re-use them with an equal, yet, often unrelated intention, expanding the standard-setting threshold of another project. “Projecting” multiplies the past project, and, more importantly, the “past projecting” of used objects, materials, processes and/or entities.

I use the re-use of objects, materials, processes and/or entities. I use the re-use, this time with less of a specific intention, but to “project” intentionality and problematize this function as a way of evaluating projects. Signs turn into signals. Viewers no longer look at artworks, but watch the processing of an artist. I re-use the re-use of objects, materials process and/or entities. Now I present all actions, movements and hesitations via black redactions that occupy walls, floors and even the changed aspects of once “finished” artworks (such as re-used frames, display devices and their visual contents). The viewer finally begins to see something shared, namely what they cannot see. A public is animated by the extreme privatization of all these past steps. This is due to a history and change that is compacted to a point that the current form of presence cannot possess a being liable to be made into a sign (stable presence), because both method of display and what is on display is always, already, multimorphic (the presence of multiple forms simultaneously).

As an artist I like to think I produce Partial Objects, which can be characterized as a double dissolution, one being of the object and the other of the subject.  A type of dis(tancing)-appearance made possible by and out of a prolonged proximity maintained between things, materials processes and/or entities. Prolonged proximities that produce a kind of material pidgin—a grammatically simplified means of communication that develops between two or more groups that do not have a language in common. The result is a production and maintenance of signs that are doubly non-native, meaning the author and object/subject are both made into partial objects. This notion of partial plays off all three of its possible meanings, namely having a particular liking or fondness for something or someone, that, by nature of its sentimentality (a form of bias or prejudice), relates to being or affectation only in part, not total; incomplete.
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