Rorschach developed his infamous inkblot test after a game he played as a child. He redefined the whimsical pursuit of Klecksography as a means of penetrating the human psyche. These layers of interpretation run parallel to my experience as an individual living within stacks of structures. The obsolescence of the Rorschach test mirrors the devaluing of my own frames of reference in the context of contemporary history.
I grew up in Jersey City, a place across the river from Manhattan that in many ways died with the end of American industry: Surrounded by urban decay, the stillness of derelict factories filled with machines left to rust, papers left stacked on desks, objects discarded or long forgotten; Communities and individuals jettisoned by the structures of economy and government, crawling their way through daily life, surviving.
This is the basis of my work. Like a patient gazing at an inkblot, my reinterpretations of this environment have been numerous and sometimes disparate as raw emotion seeks to connect with cerebral explanations, manifesting in a multitude of mediums. The minutiae of the individual experience are thrown into the contexts of society at large, politics, and history. To the eyes of youth, the exploration of the half-erased histories of Jersey City resembled the violence and freedom of the Wild West. To an adult witnessing a government’s embarrassing attempts at hyper-gentrification and erasure of history, the city takes on yet another guise.
Each subjective interpretation represents only a fragment of a layer of memory. My work is like the city. Its aesthetic embodies the simultaneous quiet of death and abandonment and the frenetic pace of urban American life. It is a mixture of collective and personal memories reinterpreted in perpetuity. It is never static and never complete.
Director at No Such Arts