The Chris Girard Website

  • 2. I began to tutor from a place of desperation. I had no job offerings after I graduated from UCSC in 2010 and Goldsmiths in 2013, so I tutored in over 50 subjects when I signed up for a private tutoring service, which led me to help students complete their digital media projects.
  • 1. My tutoring work, like this video still taken of me while instructing video at Art Institute Hollywood, is multifaceted. Income I make from tutoring supplants the money lost from the 'unsellable poetry', which includes the theory-heavy work that constitutes my Ph.D. at Goldsmiths.
  • 3. Lengthier tutoring sessions that involve code changes my role from a tutor into a collaborator. The moving robot on the left was for an interactive JavaScript project. The pong game on the right depicts Rudolf as a paddle against a pong abominable snowman.
  • 4. I photographed a coworker's band called Tramp for the Lord before I began my shift at The Echo. A production company that runs a few music venues in Los Angeles payed me to work in security, update the chalkboard rosters and close the venue.
  • 5. Security required me to wear a GoPro to film fights and the process of throwing people out. My awareness of the venue's back patio and dark alleyways conjures up scenes of being encapsulated within the patio looking outward from wire fences that obstruct the lights outside.
  • 6. I've exhibited prints for sale through physical and digital galleries. Two types of visual poetry I exhibit are in the form of sublime landscapes as shown at Lot 613 in Downtown Los Angeles (right), and idioms contained within the letters of street signs (left) at Browns Coffee in London.
  • 7. I explored Griffith Park when I first moved to LA in 2011. It offers a rustic atmosphere amidst an urban environment. The dream-like ripple effect mimics the tectonic plates, movement against movement of LA's grid pattern with blended layers of negative images that overlap with positive images.
  • 8. I enjoy the design from the motion created by low shutter speeds. The swirling umbrella, a photograph of mine taken at 1/30th of a second creates a modernist-like wave. The ocean-like ripple against the hazy shoreline creates a multi-directional scene of motion from the three seconds of movement.
  • 9. My interests and academic pursuits in collage poetry are from the appropriation of found words, using writing like the waves in my blurry images. I incorporate photography and poetry together by encapsulating signs within the bigger bubbles of suburban fences and streets.
  • 10. These three images are cropped and framed 'Come On' from a real estate sign, 'Nope' from a no trespassing sign and 'End Ding' from a street sign show how sayings formed from partial letters of street signs are repurposed from enforcements of the law and private ownership.
  • 11. I made a music video to be published on VEVO with no budget that features musician Isaiah Garnica. In this particular video, the owner of Circus Liquor in North Hollywood would not let us shoot his proprietary neon clown but we did anyway.
  • 12. My friend Stephen Van Dyck organized LA Road Concerts. It interconnects art along one road, like Mulholland Dérive. The words from my installation mimic the look of red and yellow traffic signs and include photos taken of signs in LA that were as distressed as the utility pole holding them up.
  • 13. My friend Mark So and I focused on failure as a queer anti-construction of the normative for an event at the Centre for Creative Collaboration in London. The installation marries a dreary video of shadows cast in a London cemetery with an ambient recording of rustling palm leaves from LA.
  • 14. I edit and cut up every piece of writing given me. The transparencies of a John Ashbery poem (left) are now placed in a non-sequential order, scanned and hanging as prints under a glass stand. The scans (right) taken of printer errors from 1999 look like minimalist scrawls of 'asemic' writing.
  • 15. My interest in exploring the digital effects of poetry stems from its vulnerability as an object. I have repurposed my old poetry zine from 2004 into hypertext. 'The Route Throughout' is accompanied with abstract images and clickable links to reveal its ephemerality as a print object.
  • 16. I embedded my 60,000-word PhD dissertation into one 400 kilobyte html document. It includes hyperlink references to 300 footnotes, 20 images and 35 sections. My dissertation explores and psychoanalyzes collage poetry. Thanks to Kenneth Goldsmith, it is a downloadable PDF document on Ubuweb.
  • 17. A 'tombstone poem' filmed at Hollywood Forever Cemetery was a prototype of my Ph.D project and a collage of campy inscriptions from the tombstones of dead public figures. These inscriptions allude to ghostly and textual presences in collage poetry and post-structurist theory.
  • 18. I gave a presentation at Goldsmiths of a 'tombstone poem' filmed at an old English cemetery and used Max/MSP/Jitter to run it. This project runs five second film clips of four videos from four folders connected to four different panels on one screen.
  • 19. These screenshots show three sets of four sequentially running film clips at Nunhead Cemetery in London. The four running clips create a ghost-like omnipresence of the surroundings and cycle different clips with no beginning or end. This is presented in more detail with my Ph.D. at Goldsmiths.
  • 20. 'Christop', the Twitter project, is a series of haiku-length poems written every day for 365 days. I used it to track its digital audience as a collective and fluid body. I got 2000 legitimate 'followers' and tracked the interactive digital audience through shares, follows and mostly un-follows.


The Chris Girard website offers conceptual photography, poetry, ‘a photo shop from Photoshop’, tutoring services, a multimedia art portfolio & writing, like a Ph.D. dissertation. Purchase a surreal photograph (with personalized certificate of authenticity) at the bottom of this page.

Surreal & Conceptual Photography

Downloadable Photos

Showing all 10 results