portalage, n. (rare.) “The construction of portals.”
In this website you’ll find information on my artwork, writing, teaching, and academic service.
I work in various media while fussing about with tropes of time, memory, place, and myth. Sampling, remixing, and mashing tend to be recurring methods in both the art and the writing—processes that seem, for me anyway, to sometimes effect a reframing of temporality. (E.g., indecipherable proto-archetypes in 50-year-old children’s drawings morph into seed material for new works; a globe containing a nest with glass bottles and their short fictions draws upon the hollow earth mythos as a conceit for time travel.) Much of the work, including a chunk of the academic stuff, touches on the implications of living in the anthropocene—a sustained meditation on the bittersweet weirdness of creating while living and dying here in this sixth extinction. A lot of my efforts are about being haunted, while also being a haunt: imagining and channeling “voices” from past/present/future while acknowledging the ephemeral nature of one’s own brief existence. Through it all the metaphor of the portal—as a means of diving into, or escape, or seeking to return—hovers in the background. Portalagics.
After taking a workshop with Geoff Cox on “diagramming the essay” and being influenced by a number of readings here, I developed the image above in an attempt to better understand the flows and themes running through my (non-academic) work. A look under the hood, so to speak. And so demonstrations of portalage P to be found via this digital portal include:
r, s, m Remixing, sampling, mashing (3 distinct methodologies). Cuttings, tearings, pastings. D.J. poetics.
L1 L2 The lens as suspension bridge: camera & video as devices for temporal painting. Landscaping “pasts” (p) w/in “futures” “F” w/in “presents” [P] via these portalling machines.
s-s Self-sampling. Drawings from a child a half-century ago, reconstituted in oil paint. Puzzling over, & choreographing, indecipherable proto-archetypes.
v Victorian scrapbook as diagrammatic micro-novel.
S “Scripts”. Channeled, felt, conjured, intuited voices. (Felicia Rudolphina Scatcherd, early 20th spiritualist and spirit photographer, would press unopened photographic plates against her cheeks & forehead, “entering intimacies w/unseen operators”. Accompanying transcriptions from-the-beyond were termed “scripts.”) Psychographical mutterances from the heavenly spheres, & other likewise neighborhoods. This project combined w/6th extinction hauntings oo.
f Fabulisms, oneiric fancies, active imaginal faerie biographies. Homegrown mythologies. Flash-in-the-pan fictions. Short shorts; sugar eggs with peepholes.
R Parafictional retrospectivenesss. Je est un autre. Didactic art cards of the late “D.O.” Unseen, nonexistent work curated for the reader’s eye.