Selective Fire and Fictionhearted were two exhibitions that spawned from a single body of work, made by combining large-format analog photography with renders of appropriated three-dimensional objects.


Selective Fire, the first exhibition, was initially created as an introspective attempt to analyze my hatred for real-life guns and my love for virtual guns and whether or not these two dispositions could coexist. Physical and fictional landscapes were covered by weaponry and childhood playthings, blurring what was “real” and what wasn’t. In retrospect, I don’t think this was what Selective Fire was truly trying to convey. 

Fictionhearted, created in collaboration with Brian Barr, got much closer to the true significance of this project. By focusing on our obsessions with symbols and avatars, something completely new was created: something that does not try to establish a hierarchy between virtual and physical, but instead utilizes the spaces between discernible contexts to spawn new fictions.