Attraction

Attraction
gunpowder, acrylic, gold leaf, wood_ 36″x 48″x 5″

A new direction based primarily on some architectural theory I have been reading. I have been using this pattern for a while, but more recently the idea of architectural fidelity and the space it protects/forms have become something I see as a political manifestation. I am referring to it as the “politics of the void.” (2 previous works dealing with this topic are Incursion I and II.)

I have become interested in how much effort/power it takes to stabilize vacuousness, how architecture is part of the constructed stability of space and yet, interior design and temes tend to disrupt/distract the space itself to present a more socialized view of this power discourse. Dealing not only with the forces that attract towards the void, I have attempted to symbolize the restraining architecture, essentially highlighting the warping of space by presenting stability. The singed edges of the circle are a physical manifestation of this power, at once exploding outward, expelling, as the vacuum pulls discourse ever inward. (In black holes or gravitational fields they call this edge an event horizon, where escape is impossible.)

In many ways this is about interdependance. The forms rely on each other to create a dynamic form of tension, stabilizing on their own power and continual interaction. I am simply trying to visually represent this complex set of symbiotic forces.

* Since winter 2010 I have been painting a bright color on the backside of my works. This allows for a glow of color to reflect onto the wall in order  to mingle with the shadows. It is part of “Attraction” but is also noticeable on “Fulfilling the Void“, “Disruption/Seduction“, and “Connected: Laocoon.”

Connected: Laocoon

Connected: Laoccon
66″x102″x5″
gunpowder, graphite, acrylic, wood. [2011]

This is a continuation of a recent theme: re-purposing powerful or violent historical characters that have been immortalized in sculpture. This piece is especially poignant as the father struggles to free himself (and his 2 sons) from a serpent, which I have conveniently removed. Without seeing the deadly serpent the characters are fragmented, ripped apart by an unknown force.

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