The fragmented quality and the nature of the materials I use address the recent evolution of both medical diagnostic and scholarly methods. As paper is steadily replaced by virtual documents, the lowly staple – in this case transformed through obsessive repetition to the status of art material – will become an artifact of an earlier information age. Modes of diagnostic imagery are shifting as well: X-Rays and MRI scans are increasingly being recorded solely in the digital realm. Though the materials I use may soon be obsolete, they are not selected to convey nostalgia. In concept alone, the materials serve as a marker of this time of technological transition in which we live. The visual aesthetic of this work is at once high-tech and primordial, a potent cue to the changes occurring in our environment.

Inspired by algorithms, my process employs recycled medical diagnostic film layered with acrylic, monotypes and graphite suspended in co-polymer emulsion. The inherent translucency of the film reveals multiple layers of mark making that can be read as an abstract diagnosis of sorts. The sheets of film are then torn apart and the shards reconnected in new configurations using thousands of staples. The finished pieces are diaphanous despite their large scale. The pieces evoke a multitude of associations: aquatic life forms, otherworldly geological formations, surreal vegetation, scientific images of the miniscule, visions of the cosmos.

Gallery Uno's glass walls and enclosed, though entirely visible, terrarium/aquarium-like space seems fertile ground for an installation transforming it into a microcosmic slice of the hydrosphere.