Currently, there are few spectacles that recall the subtlety of Dogen, whose writing and aesthetic character (as communicated in situ) are responsible for all of Soto Zen. Similarly, the subtleties within classical aesthetics of imperial, medieval, sub-Saharan art of the savannah are lacking in both the global markets and discourse. My art would bind these narratives and their subtleties with ties taken from the super-blacknesses of the eighties (i.e., cuttin’ and scratchin’, b-boy fashion, and the emergence of the young, black pistolero). Open-air drug market fiefdoms within federal housing are akin to the representation of Sengoku Japan in Kurosawa’s films and a parallel to the absorption of black culture in Japanese-style media, e.g. Grand Theft Auto.

My work is an individual response to the team sculptures of groups like Industrial Light & Magic, Electronic Arts and Pixar. Aspects are intended to be analogs of the digital database and open-source intelligence gathering resources for the public. It is also the effort to break hegemony through personal narrative and an exploration of the material conditions of my youth.