A multimedia video created through a process of stop-motion animation on paintings and drawings combined with live action footage, shown in installation format. Structured in three movements, the work ruptures and rearranges past, present and future through tracing, fracturing of images, loops, and shifts in scale/distance/viewpoint, all building to a frenetic finish. In the process of creating the video, the paintings become ruins themselves. This relates to the concepts within the work, and the video excavates the paintings, allowing their histories and narratives to be revealed. As the animations develop, the paintings become topographic“terrains” of built up layers. In the end they stand as archaeological remnants of the process.
Installation at the Cameron Art Museum, Wilmington, NC, 2017
Exploring painting as both site and non-site, Future History is comprised of a stop-motion painting animation projected onto the gallery floor, and the painting that created the animation hung on the gallery wall. The floor projected animation reveals the history of both the site and the painting, and the painting itself functions as an archaeologic artifact of the event. The floor projection serves to subvert the tradition of wall display for painting, and simultaneously displays both presence and absence.
Acrylic on canvas and HD digital floor projection, each component 72" x 48", 2015
100 Histories, Erased
Suite of 100 erased drawings whereby all architectural components were erased from a graphite ground. The imagery comes from 100 abandoned sites that I documented in 2013 in Flint and Detroit, MI.
Graphite on paper, each 11" x 14", suite of 100, 2015
A series of paintings that mirror photographs of abandoned sites in Passaic, NJ and Levittown, Long Island. Acrylic and digital c-print mounted on board, 4" x 12" or 6" x 8", 2012-2013.
That monumental parking lot divided the city in half, turning it into a mirror and a reflection- but the mirror kept changing places with the reflection. One never knew what side of the mirror one was on,
Robert Smithson, A Tour of the Monuments of Passaic, New Jersey, 1967
A series of photographic collages where the image is cut and reassembled, rupturing the image.
Digital c-print mounted on museum board, 17" x 17 or 18" x 24", 2013
In 2012 I attempted to photograph as many of Robert Smithson's "monuments" from his 1967 photo-essay as I could find in their current state in Passaic, NJ. Finding only one still in existence ("Bridge Monument") I took my own tongue-in-cheek approach towards their contemporary counterpart.
1. Bridge Monument, left Smithson 1976, right Mitcham 2012
2. Fountain Monument, left Smithson 1976, right Mitcham 2012
3. Pumping Monument, left Smithson 1976, right Mitcham 2012
4. Sandbox Monument, left Smithson 1976, right Mitcham 2012
Stop motion painting animation created in collaboration with a writer and composer. Using a single sentence from a short story, the animation was created without knowledge of the original narrative or full text.
Oil on canvas and HD digital video, 3 paintings, each painting 30" x 40", 2011.
Valley of Ashes: A Brief History of Flushing Meadows