Record. Collect. Compose.

I’m happy to have some new work in the Exhibition Record. Collect. Compose. at Charlie James Gallery in Chinatown. The exhibit runs through October 17th. Installation images are on the gallery website.

More images and information about the Octoloop Rover in the image above coming soon!

Welcome to Los Angeles

Video documentation of my installation for The Meme Machine at Agency Contemporary in Los Angeles. The album Whales Alive,featuring the songs of the humpback whales, improvised jazz music by Paul Winter and Paul Halley, and Leonard Nimoy reciting nautical poetry, was broadcast through the gallery. The transmission interacts with the electromagnetic interference being generated by flashing fluorescent tanning lamps in the sculpture Welcome To Los Angeles. The transmission is then received by the sculpture Dreamcatcher, which contains an antenna that engages with the bodies and energy of visitors.

The Meme Machine: August 30 – September 27


New work at Agency Contemporary, 4911 Clinton St., Los Angeles, CA 90004. Through September 27.

The Lake Effect: Contemporary Art at Ox-Bow


Sent some Voodoo to Saugatuck for the summer. Opening reception tonight, show runs all summer long … through August 23. B-) More info here.

Rock Garden

At the peak of the Cold War in 1976, the Soviet Union began working on Mir, a new space station and their latest effort to stay ahead of the United States in the Space Race. Mir was preceded by the USSR’s Salyut space stations, first launched in 1971, and also by NASA’s Skylab, which was launched in 1973 using modified components from the recently cancelled Apollo program. With the fall of the Soviet Union and the end of the Cold War in 1993, the Mir program was still in full swing as the space station was under continuous construction and development. The program was eventually merged with the European Space Agency and NASA’s program for a space station called Freedom, with the joint effort resulting in the creation of the International Space Station. Construction of the ISS began in 1998 with the launch of a Russian cargo module that was originally destined for Mir. The Russian’s named this module Zarya, which translates to “dawn” or “sunrise.” Zarya became an alias for the ISS that is still used today.

Meanwhile a different group of scientists had been working independently on a more fantastical project that to this day is often viewed as fringe science, even though the possible outcomes holds far more potential than many of the initiatives carried out during the Space Race (which were mainly pursued for positioning during the Cold War). As early as 1896, Nikola Tesla began experimenting with radio astronomy and developing technology to communicate with life on Mars. In 1959 Giusseppe Cocconi and Phillip Morrison published a paper titled Searching for Interstellar Communications. The paper described that “interstellar communication across the galactic plasma without dispersion in direction and flight-time is practical, so far as we know, only with electromagnetic waves,” and through logical deduction concluded that “in the most favoured radio region there lies a unique, objective standard of frequency, which must be known to every observer in the universe: the outstanding radio emission line at 1,420 MHz (21 cm wavelength) of neutral hydrogen.” Hydrogen is the most common element in the universe and its frequency, also known as the hydrogen line, is exceptional at penetrating interstellar cosmic dust that is opaque to light. The 21 cm wavelength is also capable of passing through the Earth’s atmosphere, making it a prime candidate for observation. Seven months after Cocconi and Morrison published their paper, astronomer and astrophysicist Frank Drank carried out one of SETI’s (Search for Extraterrestrial Intelligence) pioneering experiments, Project Ozma, in which he listened for signs of life from two distant star systems at the frequency of neutral hydrogen.

Then, on August 15th, 1977 at the Big Ear radio telescope at Ohio State University, we received a signal. The Big Ear telescope was slightly larger than three football fields. It was a stationary telescope, and scanned the universe with the rotation of the Earth (as does the radio telescope included in Apollo TBD). This gave the telescope a 72-second window to receive any particular signal before it rotated out of reception. The signal came from a location within the constellation Sagittarius, and lasted for the entire 72-second window, peaking and then falling as the telescope turned away. It was 30 times louder than any typical background noise, and fell incredibly close to the precise frequency of neutral hydrogen (within .05 MHz). When astronomer Jerry Ehman was reading the computer printout a few days later and came across the data, he circled it in red pen and wrote “Wow!” The Wow! signal, as it came to be known, was exactly what researchers were looking for. Unfortunately, despite extensive efforts, they were never able to find it again or determine its source. Whether or not it came from an intelligent life form remains a mystery.

The radio telescope included in the Rock Garden installation is constructed using four identical Yagi-Uda antennas, built using tiki torches, patinated copper, and tie-dyed t-shirts. The four antennas were precisely designed and arranged to maximize the gain and aperture of the telescope. The incoming signal is routed through a low noise amplifier designed to increase the strength of the incoming signal at 1,420 MHz, and to reduce any signals above and below that frequency. The low noise amplifier is powered by the Sumrak Power Module Array (Sumrak translates from Russian to “dusk”). The next device in the chain is a passive microwave filter, which further eliminates frequencies above and below 1,420 MHz. The signal is then routed to a USB card originally designed to receive TV signals which was found to have a much broader frequency range, allowing it to be used as a component of a software designed radio system. The USB card sends the raw signal data to the Macbook, which is running a program that interprets and visualizes the incoming signal.

The installation Rock Garden is on display through May 10th as a part of the exhibition Apollo TBD at Samuel Freeman Gallery in Culver City.

Roots & Culture Spring Gala Benefit

Do you need 1,000,000 SPFs for that beach party on the moon? Support Roots & Culture!

Apollo TBD

Apollo TBD

As We Had All Been Flesh Together, Now We Were Mist

I’m excited to be part of this on-air exhibition as part of KCHUNG radio’s public-outreach residency at the Hammer Museum. The segment was curated and organized by Mary Hill, and will air Sunday, November 24th from 11 am – 5 pm.

Indy Island // Darkside Massage & Heat Therapy

Greetings friends! It’s been pretty quiet on my blog lately. I have three sculptures in an exhibition in NYC at Benrimon Contemporary, and I am currently on the final leg of the largest project I’ve ever done, a residency on Andrea Zittel’s Indy Island at the Indianapolis Museum of Art.


The official blog is at, and I’ve also been posting here and there at D I O S P E X and tweeting at I was also recently featured on the Modern Art Notes Podcast with Tyler Green.


I’ll be at the IMA until the 31st of August, and then I’m very excited to be heading to Ox-Bow for their fall residency program. The show in New York is up until the 23rd:

Dark Star

Here’s the final patina on the bronze piece… I’m very happy with how it turned out, and even more excited that the final bid garnered a nice donation to Roots & Culture at their annual benefit auction. The installation for Dark Star went smoothly, but down to the wire (of course..always). Smoothly in the sense that we didn’t have to pull any late nights in the gallery, and though my cousin arrived precisely at 6 pm for the opening and pointed out that I already had a drink in my hand, I’m pretty sure we finished installing around 5:59. Over the years I’ve learned that I’m motivated by deadlines, but also that if I finish with time to spare, I don’t feel like I’ve put enough time and thought into the project.

The opening was great. We had a good stream of people coming through; family members, old friends from Ox-Bow, and a whole bunch of new friends too. Eric cooked up some tasty empanadas, and busted out an extra-smooth playlist for the after party. Many thanks to Bad at Sports who listed us in their Top 5 Weekend Picks, and also for the E-Dogz Zombie Apocalypse Refuge Center shout in Edition #9. Check out Eric’s post about the silkworm pupae and painkillers that we served to a few adventurous patrons, and quite a few cautious ones. What surprised me most is how hesitant people were toward Spam! I guess I have too many Hawaiian and Filipino friends.. but seriously.. someone turned down Spam for silkworm pupae?

For this body of work I kept reverting back to a conversation I had with Chris Wiley at an opening last year. I was describing the various interests I have, and he bluntly and eloquently pointed out that my work is about waves. It was a somewhat lucid moment, and gave me a different perspective about how I approach my work. The installation at Roots & Culture begins with a video segment I shot at the 2013 Rincon Classic surfing competition. I stitched the waves together to create a three-minute seamless loop, and mounted it to the wall in a gold frame. The audio is transmitted through an old sun-bleached beach chair that is attached to the FM transmitter and functions as the antenna. The signal makes its way across the gallery, receiving interference from the flashing sculpture titled Billboard. I first started noticing empty sign frames like this in Los Angeles, where a business no longer exists and they’ve removed the facade of their signage but left the lights on. I find them fascinating and see them everywhere now. The fluorescent bulbs don’t take kindly to being flashed on and off like this, and as they slowly burn out they get softer and softer and the aggressive flashing becoming increasingly hypnotic.


I stumbled across the work of Dieter Rams earlier this year and realized that he is perhaps the source of the clean, white aesthetic of gadgetry & technology that I am so attracted to. Rams was the Chief Design Officer at Braun from 1961 to 1995, and his work is seemingly the root to many of Apple’s designs as well. The vintage Braun RT-20 radio included in the Shrine for Dieter Rams (above) was incidentally designed in 1961 at the very beginning of his Chief position with the company. I haphazardly stumbled into this piece; Braun radios are hard to find and I initially wasn’t sure what to put it on either. Eventually I devised this clash between the tasteful design of the radio and the kitsch bamboo aesthetic I’ve been using. After working for the The Haas Brothers in Los Angeles, and picking up a copy of Design and Art, I was much less hesitant to approach building something that could be considered a piece of “furniture.” The book discusses the relationships between design and art, including an interview with Dieter Rams and also an article by Andrea Zittel, who designed the island that I’ll be living on this summer. At some point I realized that the original concept for the bamboo structure in the Shrine was inspired by the side table I helped fabricate for the Haas Brothers’ Versace Home collection. Though the final result is far from the original concept I came up with, I was initially curious how working for designers in a furniture shop would ultimately influence my artwork.

Finally, I had another lucid moment while installing my work for Dark Star. Kneeling in front of the Shrine for Dieter Rams to tune the 52-year-old radio, I realized that the ocean I was trying to pick up from the transmitter in the other room sounded nearly identical to the radio static I was trying to filter out.

I’ve posted videos and images of my work from the exhibition on my website, including a new series of cyanotypes and UV photodegradation prints I made with my tanning lamps. You can find it all here.

Roots & Culture is open Saturdays from 10-6 and by appointment. The exhibition runs through June 15th.