“When you take stuff from one writer, it’s plagiarism; but when you take it from many writers, it’s research.” It has been almost 100 years since legendary screenwriter Wilson Mizner glibly voiced this now-famous remark. His words resonate even clearer today. Everyone will agree that research and influence are synonymous with creation. Therefore all methods of making artwork are, in the very least, a highly diluted form of appropriation.
This hypothesis is more frequently becoming reality. What is true originality? Does true originality exist? Mass communication and globalized networks strain to connect every image, sentence and sound to one another. As this occurs, the amount of appropriated material increases at an exponential rate. The resulting tug-of-war between mediated generations of information spotlights our current disposable definition of originality.
This work began as a compulsively accumulated chronicle of personal experience. Next the collection and its documentation are combined with additional original and found imagery. This is ultimately advanced into a perpetual cycle of recontextualization where self-appropriation becomes the constant creative component.
Within this process, the hypocrisy and contradictions of contemporary culture operate as the primary subject matter. Viewers are first seduced by a marvelous exterior, then transposed by a hidden agenda. Consequently, multiple narratives are presented through the power of suggestion thus allowing subsequent thoughts and interpretations to become self-fulfilling prophecies.