EXCERENE : REFUNDERE
ex- (out of, from)
+ cernō (separate, sift; discern)
and re- (back, again)
+ fundō (pour back, pour out)
+ cernō (separate, sift; discern)
and re- (back, again)
+ fundō (pour back, pour out)
excerpt from the preface:
“The dilation of collective access to [content], and the subsequent ubiquity of [image] through the proliferation of commercial & social [media]mirroring, created a strata of new symbolic terrain. Where previously an image referenced [consciously or subconsciously] collectively recognized symbols and spoke a common language, “fractured dialects” emerged.
![]()
“The dilation of collective access to [content], and the subsequent ubiquity of [image] through the proliferation of commercial & social [media]mirroring, created a strata of new symbolic terrain. Where previously an image referenced [consciously or subconsciously] collectively recognized symbols and spoke a common language, “fractured dialects” emerged.
Any given image (of the millions we are bombarded with in waking life) contains not just the diluted (though historically recognizable) primal symbol, but also layered meaning, as its contents speak in the “root language or mother tongue” overdubbed in the language of corporate/commercial and artistic brand representation then subsequently subtitled in the posturing argot of contemporary niches.
The following is an exhumation of the remains of a culture in entropy. The entropy of a common visual language is here contained in nonsensical synesthetic documents - regurgitating material too complex to digest, multi-sensory field notes from an archaeological sifting through time and space(s).
An analog - 35mm- photographic post-mortem survey utilizing intuitive and instinctive human lenses to filter out excess symbolic content, resulting in a collection of images prototypical of cultural “waste matter”, otherwise classified as the archetypically discarded, overlooked, unwanted, unseen detritus, the excess and decay.
An autopsied vastus seen as is, sans-curation: unplanned, unconsciously connected and free from the outward influence of the capturer. A codex for the canaries in the coal mine: Witnessing “waste” as matter of detached perspective, as text(ture), as requisite for breaking down the artificial structures of psyche by total immersion in the unconscious(ly) rejected aspects of image consumption.
The following is an exhumation of the remains of a culture in entropy. The entropy of a common visual language is here contained in nonsensical synesthetic documents - regurgitating material too complex to digest, multi-sensory field notes from an archaeological sifting through time and space(s).
An analog - 35mm- photographic post-mortem survey utilizing intuitive and instinctive human lenses to filter out excess symbolic content, resulting in a collection of images prototypical of cultural “waste matter”, otherwise classified as the archetypically discarded, overlooked, unwanted, unseen detritus, the excess and decay.
An autopsied vastus seen as is, sans-curation: unplanned, unconsciously connected and free from the outward influence of the capturer. A codex for the canaries in the coal mine: Witnessing “waste” as matter of detached perspective, as text(ture), as requisite for breaking down the artificial structures of psyche by total immersion in the unconscious(ly) rejected aspects of image consumption.
This object is a passively passionate protestation of information brushed against information. Through a natural divestment of attention from the virtual experience of seeing, you are inadvertently decommodifying and re-commodifying symbols of the hyper-real experience of perceiving. An act that mimics organic cycles of energy recirculation through decomposition. Alchemizing, post-jettison, that which has been left for us/by us - you are ferrying the weight of an image from the tomb to the womb.
The nuanced complexity of this sensorial conundrum is translated through the experience/performance of synesthetic discovery. This archive was compiled in retrospect from content divinatorily gathered as seemingly-irrelevant experiential dog-ears, over a period of 4 years from 2016-2020, encompassing varied geographic locals and cultural nexuses. An initially unconscious yet undeniably synchronistic dialog was ultimately gleaned and compiled from Plato's cave in Athens Greece, a tiled bathroom 1,600 feet underground in New Mexico, a saint trapped at an odd hour on Sunset blvd in LA, black swallowtails at the end of their life cycle
during a swampy Yucatan summer, expressions of abandonment and sunbleached relics in the deserts of West Texas and California, the turn of the last century half demolished as a welcome gesture for the coming of tech startups in Seattle, code scrawled into living wood at the entrance to a re-fashioned temple in Mexico City, the singing cicadas of Spinalonga’s Leper Colony, slow motion backstrokes into the waves of Betsy Pecanins’ vocal meanderings through Carles Santos’ score for Octavio Paz’s Mariposa de Obsidiana, and the internet's vast trove of mundane noise extracts stored as an endless scroll of ambient resonance and ASMR shopping sprees.”
