CoDriver Experiments

CoDriver Experiment of and in front of Cameron Gonzo and Zeus on the 405, pigment ink and acrylic on paper, 50 x 73 inches (unframed), 2018

360 in Miranda’s Car with Emily and Gear- Big Bear to LA, ink and acrylic on acid free paper in two artist made frames, 50 x 73 inches, 2018

360 CoDriver and Sitter Response Censored with Consent (with OllieT Goulds in the Louver Van), 59 x 16 inches, pigment ink, acrylic, and erased pencil on acid free paper, 2019

First CoDriver Experiment- in front of Jack and Greg on La Brea, pigment ink on acid free paper, 13 x 18 inches, 2018

First Sound Portrait, Audible Sitter Response and CoDriver Drawing (With Niall Murphy), 30 x 40 inches and 2 seconds, acrylic and pigment ink on acid free paper with sound electronics, 2018

In Front of and of Drivers and Staff at the LAX Warehouse, pigment ink, gold gel pen, acrylic on acid free paper in artist made frame, 12 x 24 inches, 2018

CoDriver Experiment and Sitter Response on the 110 (with Zach Trow), pigment ink and acrylic on acid free paper, 12 x 24 inches, 2018

CoDriver Experiment of and in front of Ernesto Conor and Rob, pigment ink and acrylic on paper, 50 x 73 inches (unframed), 2018

 

 

As a high school student in 2001, I won a scholarship to attend a summer course at what was then called The Laguna Art Institute. I asked my professor what the secret was to sustaining an art career. He told me what his professor had told him: get a day job that you hate, so that after work, you are excited to make art despite your exhaustion. Almost 20 years later, this was the path that I often chose.

The series CoDriver Experiments began while I was working as a truck driver in Los Angeles. Though I enjoyed driving, I most often found myself in the passenger seat and so began making time-based performances in front of, and of, my male coworkers until I got carsick. These agitated, kinetic drawings made to the rhythm of the jolting ride, also recorded what I could see beyond the regular 60° cone of vision. I added new pages and subtracted old ones as I drew, according to what I could hold in my hands. I later joined the pages together; and in some works, meditatively painted bright color fields between fragmented bodies and landscapes.