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
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.

Continue reading

Germany_Summer Residency_2009

I have been in Germany for 4 weeks.
In this time I have traveled around to a few villages and festivals and spent some time making art. I have also visited a few museums and cathedrals as all good tourists must do.

I am apart of a group show here in Tangermunde later this summer. (It is located in an old church that is now a museum.) I also have slated an exhibition for a Museum in Salzwedel in 2011. The Salzwedel Monkskirche Museum is another church with an intricate hanging system of wires. (see below)

Salzwedel Monkskirche Museum

Salzwedel Monkskirche Museum

The piece seen below was developed in Germany to comment on the serious issue of finding masculinity through tools of violence. I find the humor in the piece creates an easy entry point from which to discuss of the subject. The concept came about when the residency director loaned me his grandfather’s old shotgun, now a non-functional relic.
I asked friends on Facebook to help me title the piece, hence the working title : “Point and Shoot/ Two Pump Chump/ Perception Meets Reality {up and down}/ Get Glad and Sad in the Same Pants”

Point and Shoot / Two Pump Chump / Get glad and sad in the same pants

Point and Shoot / Two Pump Chump / Get glad and sad in the same pants

The largest pieces are about 60″ x 88″ wide. They are all made with some graphite and some lamp black pigment on paper. the saints are about 22″x15″ with some acrylic red and gold paint.

It took me 2 days to track down some wood. It comes in huge ruff planks that need a lot of attention. I cleaned up the wood to make a structure for “Point and Shoot/Two Pump Chump/ Perception {up and down}”.
(The difficulty in cleaning these up is really only in the time spent and in the quality of tools one has access to.)