ABOUT

Born. Plantation, Florida, 1974
Education. University of Vermont, B.A. 1998
He is an artist, writer, gallerist, and cultural worker.

Lives and works in Montreal, Quebec and New Orleans, Louisiana.

I am a cultural worker. I am interested in the role of art in the community and how art can impact communities. I am also interested in the role of art in people’s lives. My practice includes art making, community organizing, writing and publishing.

My art-making crosses media and includes photography, print making, installations, and art product making. My approach to photography is two-fold: I am interested in the visual language of painting as expressed through photography and I am interested in photography as a documentary tool, particularly when combined with writing. My printmaking focuses largely on colour theory and shape making, where I attempt to represent conceptual ideas in the most minimal shape possible and then develop the idea through the use of colour palettes. My installations are large-scale, multi-faceted, and sometimes theatrical manifestations of ideas. I make art products—small art and multiples—as a means of exploring further questions of object and meaning: How does an object have meaning? Why does an object have meaning? And what role do objects play in our lives?

I engage in large-scale, ongoing community projects that organize a large group of people as a way of mobilizing a communal response to a problem. I started ARTSHOP in 2004 as a way of organizing, exhibiting, and sharing art products. Through this project, I employ a number of strategies to engage people with ideas about contemporary art. I operated two fine art galleries (Kasini House Gallery in Burlington, Vermont from 2006 to 2009 and Galerie Maison Kasini in Montreal, Quebec from 2009 to 2013) that allowed me to curate a number of artists, publish catalogues of artwork, and present contemporary art to the public. In 2011 and 2012, I produced Winooski Pop-up Gallery District, an event that converted a block of vacant retail spaces into working art galleries for six weeks at a time. Other projects such as Ribbon Pig (2012 to 2015) and Art Cards exist as tools for diffusing contemporary art and literature while demonstrating a sustainable, pro-artist/writing, business model.

My publishing work operates in a manner similar to my community project work, but in printed form. I have published dozens of books and artist catalogs as a way of promoting and diffusing art and ideas. In 2005, I co-published (and co-wrote with Christopher Byrne) the Vermont Art Guide as a way of promoting Vermont contemporary art and Vermont as a contemporary art destination. The project has evolved into a study of contemporary regionalism. In 2006, as a response to a need identified during a community meeting for better organization of the art community, I started Art Map Burlington in Burlington, Vermont, which was also a way of increasing the amount of critical writing about local artists. In 2011, I co-founded Kolaj Magazine with Benoit Depelteau as way of exploring, documenting, and sharing collage as a contemporary, fine art medium and building a network of artists working in the medium. In 2016, Christopher Byrne and I relaunched Vermont Art Guide as a quarterly magazine, continuing the promotion of Vermont contemporary art to both Vermonters and visitors.

From my individual art making to my community projects, I am guided by a set of beliefs. A critique of power is embedded in my work. I believe art can be a tool for liberation. I believe the current configuration of the art world prevents most people from having a meaningful relationship with art, and as such, is a tool of oppression and in the interest of those who benefit from the status quo. I view cynicism as a failure to hope. I believe entrepreneurship is a tool for emancipation. Lastly, I believe in the accumulation of small gestures.