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As a youth, an understory of unquenchable curiosity and inventive imagination sprung up within me as I adventured beneath the column trees of Ohio’s Appalachian forests. These foothill foundations emerged from the Pleistocene’s ice unscathed, and I plunged into their deep relief often and thoroughly to become lo… Read More
As a youth, an understory of unquenchable curiosity and inventive imagination sprung up within me as I adventured beneath the column trees of Ohio’s Appalachian forests. These foothill foundations emerged from the Pleistocene’s ice unscathed, and I plunged into their deep relief often and thoroughly to become lost, both in thought, and occasionally, orientation. I would play Socrates, peppering the hillsides with questions of why, how, and when they came to be, and musing over my place among them. In adulthood, I have pursued an academic course uniquely poised for this line of inquiry, studying both the innermost workings of the Earth and expressions of the human condition.

My most successful works have quarried the fertile borderlands where distinctions between the disciplines of Art, History, and Geology begin to erode. One of these pieces, Petrosyllabic Resonator II, reconciles two famous literary dictums: that “you can’t go home again”, and that “the past is never dead, it’s not even past.” Where we have been is at once omnipresent and unreachable. Petrosyllabic Resonator II responds to this condition by perpetually sifting and reshaping landscapes directly from the remnants of place that persist within us: recollections. An untrodden territory is spoken into existence through the resonance of recorded memories. These evolving microenvironments knit together the threads of location and narrative, resulting in a form that is a pure function of my words. Read Less
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