DataMine Installation
#flex, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018
#flex, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018 (detail)
#flex, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018 (Installation at the Museum of Fine Arts, Houston)
#sinkbooty, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018
#sinkbooty, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018 (detail)
#duckface, 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018
#preggo 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018
#preggo 1 sec, Archival pigment print, mounted on dibond, framed, 63 1/2 × 38 1/2 in, 2018 (detail)
DataMine, 2 Seconds (Right), Archival pigment print mounted on dibond, 87 1/2 × 52 1/2 in. 2018
DataMine, 2 secs, Archival pigment print mounted on dibond, 87 1/2 × 52 1/2 in. 2018 (detail)
DataMine, 2 secs, Archival pigment print mounted on dibond, 87 1/2 × 52 1/2 in. 2018 (detail)
Sector I, 3 Secs, Archival pigment print, 50 3/8 × 30 in
Sector I, 3 Secs, Archival pigment print, 50 3/8 × 30 in (detail)
Sector III, 3 Secs, Archival pigment print, 50 3/8 × 30 in
Sector III, 3 Secs, Archival pigment print, 50 3/8 × 30 in (detail view)
Sector III, 3 Secs, Archival pigment print, 50 3/8 × 30 in (detail view)
DataMine
The selfie. What began as a personal expression to friends and followers, is something more…not just as a compilation of photographs, but of many data points in the continuous stream of information we ourselves create; generated by humans only to be analyzed by machines, and be replayed in ways that can ever so slightly alter our trajectory and re-chart our course; our society; elections; relationships.
#flex, 1 Second
From over 10 million selfies downloaded, #flex, 1 sec comprises over 750 unique images hand selected, hand placed, and organized by gesture.
Left: The Museum of Fine Arts Houston: The History of Photography: Selections from the Museum’s Collection, 2020
“From afar, many of these images are reduced to something like old school television static, with buzzing layers of black and white seeming to resolve into stripes, but then dissolving back into crackly noise…up close, the amazing diversity of humanity seems to be collapsed a bit, each of us looking largely like our neighbors and friends when placed in front of a mirror with our smartphones.” —Collector Daily