2012 installation by Yuxtapongo for Hopscotch. Community-generated installation of music-related clothing on a 70-foot gallery wall at CAM, Raleigh’s Contemporary Art Museum. Explores identity within a culture of sound.  

Assembled by Yuxtapongo: 

Eleanor Blake 
  Mollie Earls
Lincoln Hancock
Neill Prewitt
Robin Vuchnich

All clothing donated by the Hopscotch Community — bands, friends and fans — including: 

All Day Records, Amanda Saxe Barr, Birds Of Avalon, Jon Bowman, Bull City Records, Lauren Carter, Vince Carmody, Kevin Clark, Scott Craddock, Skip Elsheimer, Katrina Lamberto Elsheimer, Sarah Fuller, The Future Kings of Nowhere, Drew & Olivia Griego, Andy Heymann, Bryan Hoffman, Liz Johnson, Cheetie Kumar, Ron Liberti, Alexis Mastromichalis, David Mueller, Neptunes, Sara Phoenix, Molly Renda, Eric Roehrig, Tannis Root Productions, Schoolkids Records, Jenny Schneider, Paul Siler, Ben Spiker, Nicole & Les Stewart, Sarah Tector, Teddy, Michelle Temple, Missy Thangs, Jolee Todd, Ginger Wagg, and Napoleon Wright.


Thoughts on the Practice

(This post originally appeared on the Art21 blog.) 

I spent yesterday with two of my oldest friends. At ten, Ben and Neill came over. We’d cleared our schedules to hang and create material for A WeavexxYuxtapongo. Weavexxis the operational name of a thirteen or fourteen year-old improv music project we began in Ben’s parents‘ basement on weekends and summers off during college. The model for the Weavexx jam was always Can — the persistent Kraut rhythm provided the ground on which we’d build wacky, heinous, uncanny rock spectacles for our own expansion and enjoyment (and ultimate commitment to Maxell audiotape]. We don’t meet often to play music together anymore, but the principle still holds: spontaneous, creatively-centered interaction and collaboration for hilarity and poignance.

Yuxtapongois Neill’s monthly cable-access show devoted to experimental video, broadcast in Raleigh, Chapel Hill, Carrboro, and Durham, North Carolina. (More on the show and project of Yuxtapongo in future posts.) Though the program has an expanding international cast of contributing artists, Neill produces much of the content each month. Collaboration and spontaneity oil the chassis. Yesterday’s shoot and editing session was a pretty brilliant example of what this kind of work scenario can be: maudlin, exhilarating, stupid, fraught, hysterical, mundane, sublime and finally, somehow, completely satisfying. Starting from nothing, we called it quits with three finished pieces of totally different video, interpolations of experience documented and remade into something I’m going to go ahead and call art.

Figuring out that the things we did in our parents’ basements qualify and stand as records of creative, intentional engagement with the world is a pretty big deal. For me at least, these unstructured, oblique, contraproductive projects were always for their own sake, manifesting zones of transcendence wherein I didn‘t have to correspond to any reflective or higher-order processes or considered decisions or plans. The immediate was the grail. The realization that I seek these spaces as part of a practice has been parcel of my fundamental appraisal of my life as an artist, which is relatively young in title even as I begin my thirty-fourth year. Practice, of course, connotes mindful intent and skillful engagement in a particular scenario. As I move forward, I look to these signposts to indicate where I might find rich ways to meet the world.

Summer Twenty Ten

In May, I completed my graduate work at the College of Design at North Carolina State University. Immediately, I began work on a large scale exhibition design for 4-H NC, which will be on view in the Special Collections Gallery at D.H. Hill Library at NC State for the first half of 2011. It's been a busy few months.

In June, I debuted a video installation called HIGHLIFE — a collaboration with Neill Prewitt and Eleanor Blake — at Artspace in Raleigh. 

In July, my second solo exhibition opened at 311 W. Martin St. Galleries in downtown Raleigh. Dave Delcambre at the NC Art Blog did a nice review. New Raleigh wrote a little about it here.

Also in July, I did some guest blogging at


 (a project of the PBS documentary series, 

Art:21—Art in the Twenty-First Century


I talk a bit about my process and motivations, and take a broader look at the forward momentum of the art scene here through interviews with

Tracy Spencer


Shaun Richards


André Leon Gray


David Colagiovanni


Harrison Haynes

, and

Bill Thelen


And earlier this month, a video piece I designed with

Miles Holst

called "Radios Appear" debuted in the Block2 exhibition space at the Urban Design Center at the corner of Fayetteville and Hargett Streets in downtown Raleigh. It runs through September 20. The fall is shaping up to be jam-packed as well… exhibitions in Carrboro and Durham, SPARKcon in Raleigh, and the debut of a new rock band. Stay tuned.


A Bird, Not a Feather

Paintings and Doubles 

311 W. Martin St. Galleries

Downtown Raleigh, NC

July 2-30, 2010

Artist's Statement (PDF)