It is remarkable how our perception of the ground can change dramatically when we see it from the sky. We interact with the ground everyday of course, but it is only when we are lifting up into the air, peering out of a tiny window as a rumbling airplane traces an arc of a great circle through the sky that we can truly, amazingly, see the ground. The sky starts on the ground is an effort to capture this feeling. As you walk the distance from one end of the piece to the other, a surprising transformation takes place. The downturned arcs of woven material that trace delicate lines through the air like planes taking off and landing merge and reveal a hidden landscape and remind us that what we consider ordinary is only a matter of perspective.
This is a public piece commissioned by California State University at Fullerton. It was a collaboration with glass and neon artist Jason Chakravarty.
Institutional Memory is part of an ongoing project that explores variation in the creative process. Diverging from my fabrication background, I have deliberately separated myself from any familiarity with a particular material by allowing an outside entity to dictate the materials, time frame, and space of a new work. Here, at Indiana University, these parameters were determined by the Grunwald Gallery and IU Surplus. The rules are simple: I was granted access to the IU Surplus Stores warehouse and allowed to remove any object in their inventory. However, all of the materials must return to the warehouse, unharmed. This means that nothing could be cut, drilled, glued, welded, painted, carved, bent, cast, veneered, ground down, shellacked, or otherwise altered, changed, or damaged in any way. This new way of working has forced me to step outside of my normal set of expertise, setting up conditions for unexpected outcomes.
Common Thread is a Public Sculpture commissioned by the Alumni Writers House of Franklin and Marshal College and The Clipper Magazine Stadium in Lancaster Pennsylvania.
The Commission is part of the Poetry Paths Project, which was created to facilitate inspiring and enduring reflections of the rich and complicated city of Lancaster Pennsylvania, through poetry, urban design, and visual art.
Conduit was inspired by its namesake. Electrical conduit is a staple feature of any industrial building. Long lengths of galvanized steel tube snake their way through rooms, along ceilings, and around corners. I was always taken by the beauty and logic of their installation. Conduit, was a celebration of that beauty and logic, recreated in a way that puts the viewer in line with the implied transmission of energy flowing from one end to another.
ReMaterial is an installation exhibition which transforms and re-imagines the mundane lives of the artifacts amassed and forgotten in the dusty store rooms of those large institutions. Each piece in the exhibit was created by following a single rule. I could use what ever I found, but everything had to be returned in the condition that I found it. Circumventing a predilection toward a more permanent approach to assembling a new piece, i.e. welding, glueing, riveting, or bonding in some form or another, I was forced to discover how these discrete parts could fit together. Each part of the installation grew organically as I discovered new orientations and combinations of objects that, though radically different, some how seemed to fit. The result was a fantastical environment that is sophisticated in its execution while hinting at a more nostalgic and innocent way of making.
Where the grass is always greener.
Where the grass is always greener, is a temporary installation at the Grand Central Art Center in Santa Ana California. The project is the end result of teaching a semester of sculpture at Cal State University at Fullerton.
Striking out from a safe place.
Striking out from a safe place, is a temporary installation created for a three person show at Salem Art Works in Salem Massachusetts. The piece was created by sewing a large simple tent that was elevated slightly above the ground plane. Several 8 1/2 by 11 inch swaths of material were removed from the tent walls, creating tiny windows to the world outside the safety of the tent. Each piece if material removed was then starched, folded and pressed into a traditional paper airplane shape, and cast outside the tent, landing on a small patch of grass nearby.
These are a short collection of projects that are in the developmental stages in the studio.