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According to the artist:
In my work I have used the frame of the museum to propose a secret history of modernity informed by queer sexuality, femininity, race and class. I have used humor, parody and homage to point to stereotypes of difference. I have found the histories of surrealism and minimalism to be useful in the rearranging of ideas. The objects I make are placed in the canon of modernist art in hopes of making visible what is overlooked in the historicizing of the artist as subject and citizen.
In Looks Bad, what I attempt to make visible is suggested through the telling details of vernacular photographs. They are selected from a large archive of found images, and with each new grouping I allow for a number of possible readings to arise, ranging from formal qualities, gestures, and normative relations, to manufactured objects, gender, anomalies and “ghosts.”
I think of my installations as unfinished inventories of fragments: objects, photographs, and other inventions; as improvisational sites where the constructed and the readymade are used to question our making of the world through language and knowledge.