Becoming, Discovering, Curating
2025–2026
Mixed-media assemblage

Three groups of objects made and collected at different times are installed together across three unrusted metal panels using magnets.

Becoming holds things from earlier moments in a life. Photo booth strips show the artist with friends, alongside photographs from travel, family, and shared moments. Mother appears in a photo booth sequence from around 2015. Passport booth photographs of the artist are layered among them.

One photograph shows the artist with Grandmother in front of Notre Dame during a trip to Paris in April 2009.

Discovering brings together things found, noticed, or encountered along the way: magnets, postcards, photographs, and ephemera collected through travel.

During that same 2009 trip, the artist spotted Tilda Swinton from afar in Père Lachaise and took a photograph. He later approached her and asked if she would sign his Moleskine. She emphatically agreed, opening another small record within the trip.

On the panel, the photograph of Swinton hangs above the fish beside an Instax photograph of the Moleskine opened to the page she signed. The Instax was taken years later in front of the work itself. The actual Moleskine sits below, beneath two candlesticks on the seat of the chair.

Curating takes accumulated things and makes choices about what stays, what moves, and what belongs together.

The three panels are arranged vertically on the wall. Across them, the objects form three horizontal exclamation points, reversed and stacked one above the next to create the point of a larger exclamation point.

That larger exclamation point extends from the wall to the floor. A wooden chair found at The Rigley Field sits beneath the panels and acts as its dot.

The three works can exist separately. Here, they form one work.

Becoming. Discovering. Curating.