I have a few snapshots of Swarm in progress. The whole piece needed to be built on site because of the fragility of the hanging parts. Most of the piece was built in the education wing between July 8-15, after which time it was carefully moved through the cafe to it’s final resting place for the exhibition over the welcome desk near the second floor viewing window.
March 8-21, 2013
threewalls 119 N. Peoria #2c Chicago, IL
Pretty Good Shape materialized from the musings and survival of an artist in residence. While making on top of life, daily sustenance blends into material and back out again, agitation swarms and looms and humor emerges from a hole in the wall; regardless it all continues on. The act of supporting creativity without overindulging and spoiling it is precarious and never the same. Marks in space act as cairns; a way to push forward and find the next thing while leaving a path to backtrack, keep record and maybe begin to understand the present moment.
Maybe it’s supposed to
hole in the wall, soap, water, container, tubing, motor
I feel so sorry for you in those hot pants II
table base, motor, white table cloth
Still Life in Balance
hot cocoa powder, paper scrap, cough drop, tape, pink packing peanut, twist tie, bagel on napkin, paper towel piece, orange rind, onion skin, honey, sugar cube, eyelash, oatmeal, rock salt, pepper, sugar cube, staple, toothpaste, two rubber bands, painted cardboard piece, wrapper, contact lens, cinnamon, penny, wrapper corner, plastic protector, match, avocado skin, pin, sawdust, napkin bit, bread crumb, used birthday candle, eye lash, thread, mini marshmallow, red wine stain, two popcorn kernels, ribbon, gorilla glue, drywall, box fan foot, avocado skin, salt, tag piece, thread, rice, cup, ketchup packet
My newest exhibition, While Away opened last night at COOP Gallery in Nashville. There was a mention in Nashville Scene preceding the event. It’s been a great weekend of installing work and meeting people!
Gallery Hours: Friday & Saturday 11-3pm
“While Away” includes gestural and kinetic sculptures highlighting both the charms and risks of domesticity with vignettes that are inviting, safe and content in the moment as well as stuck in place, lazy and bored. Often worn and mostly ubiquitous objects employ their physical qualities to hold their position. These qualities (weight, warmth, dullness, softness) as well as the metaphorical characteristics (mysterious mist or illuminating light) become subject matter for the work. In a Fischli and Weiss vein of exploring “the way things go” and the way things are, familiar objects pin themselves in place or balance precariously either embodying (if kinetic) or alluding to (stationary pieces) a cause and effect. The objects become caricatures reaching and referring beyond themselves; familiar, but more vivid than before. Sometimes poignant and halting, often uncanny and slightly humorous and occasionally requiring some logical deduction, the objects left behind celebrate the resilient residual while gesturing toward the ongoing nature of life.
Exhibition on view at Trinity Christian College‘s Seerveld Gallery from Thursday, January 24, 2013-Thursday, February 21, 2013 (gallery hours: Monday-Friday 11-4).
Open Gallery: Saturday, February 16 2:30-4pm CST Closing/Lecture: Thursday, February 21 6-8pm CST
The things that slip through your fingers, flash before your eyes or hover in the spaces between are captivating because they are impossible to hold onto. From these intangible places, comes work that is lyrical, sensual and uncanny. It is constantly moving, but stuck in a single moment; isolated, but full of room to guess; familiar, but more vivid than before. My interest in fleeting moments & transitional spaces has led me to create a body of work including quick twitches, gestural bounces and subtle revolutions often alluding to a larger physical presence. Instead of referencing intangibility or the space between, physical motion naturally explores such ideas as the pieces themselves are constantly changing and moving within these spaces. The work becomes as much about what is present as what is not–purposely subtle and allusive leaving room for contemplation and asking for awareness. In addition to mechanical movement, I’ve recently begun to explore other ways to include or imply gesture such as the residue of an action– stains left behind, the position or combination of objects in space communicate past action in their stillness. Sometimes poignant and halting, often uncanny and slightly humorous and occasionally requiring some logical deduction the objects left behind celebrate the resilient residual and while engaging the ongoing nature of life.
The vignettes are both inviting and safe as well as stuck in place and bored highlighting both the risks and charm of domesticity. The use of ubiquitous objects may at first make them dismissible and their meaning assumed until considered further–brown paper bag references containment or a fly swatter becomes violent. Physical qualities (warm, cold, sharp, dull, hard or soft) as well as the metaphorical qualities (mist disperses mysteriously, a lamp illuminates and casts shadows) become subject matter for the pieces as the objects becomes caricatures reaching and referring beyond themselves.
I currently have work at Land of Tomorrow gallery in Louisville, KY. Five separate exhibitions opened February 3 and will be up through April 3. My exhibition entitled “My Pleasure” includes a full room installation with four separate, but related gestural sculptures. The wooden planked floor is walkable by the viewer and the small, continuous kinetic sculptures include a “pile” of soap bubbles growing from a knot in the floor, a cigarette resting on the floor boards subtly emitting a plume of smoke, a whizzing piece of black wax hanging from the ceiling in a manner reminiscent to the motion of a housefly and a brown paper bag on the wall regularly expands and contracts.
The four other exhibitions included Hollywoodland by Amanda Church, Prodrome by Taylor Baldwin, A Colder Friday by Jacob Isenhour and Willard Tucker and works by Kamrooz Aram, Jimmy Baker, Sheila Pree Bright, Cheryl Dunn, David Ellis, Evan Hecox, Harmony Korine, Barry McGee, Aaron Morse, and Clare E. Rojas all Courtesy of Country Club Projects (more info).
My installation titled “It Most Certainly Will” was inside an 8x8x20 foot container including a red rubber ball that bounced from a string like Every Good Boy Deserves Fudge or Vice Versa and an inflating and deflating brown paper bag on the back wall.
It Most Certainly Will, 2011
wood, motors, timer, tubing, bag