My sculptural installations employ various methods of mapping, involving architecture, references to DNA and natural phenomena found in the body and in the landscape. Throughout my travels I’ve observed many clashes in the natural and industrial contemporary environments, triggering visual responses. Incorporating techniques of archaeology and geology, through prying apart, dissecting and re-organizing individual elements, images that are submerged or buried are unearthed. This work is concealed by building up layers through repetitive processes, then, by excavating or mining the work, it’s revealed again in a new light.
Images culled from sketchbooks, done while in-transit-in a liminal state while waiting for something-are enlarged. Starting from the outside of the page and working inward, using various implements found around the studio, the image is engulfed by lines until it winds its way to the center of the page. This is a meditative, repetitive process, whereby the end result resembles annular rings in tree growth, the breakdown of the original image is made apparent. Using the “draw-rings” as a point of departure, templates are made from them, and transposed onto clay forms. Multiple coats of plaster, sealed with resin and wax after it’s cured, are poured over the clay, obscuring its original form. Once the clay is extricated from the plaster, a hollow pigmented plaster structure remains. The footprint of the clay form, gone but not forgotten, creates a presence of its absence. Throughout this entire process of exploration, the co-dependent bond between image and memory is revealed.
Utilizing remnants of communication and energy connectors acquired through various job sites visited, I am bringing attention to notions of recycling and reclamation of recently considered antiquated materials. Networks of material, color, form and texture course throughout the scavenged linear debris. Materials such as wire, rope, twine, etc mimic the drawing process, snaking physically around three-dimensional forms suspended and mounted to various structures. The lengths of the connectors are cut to twice my wingspan, as if I could “wrap” literally, my mind and body around these ideas/forms as they devolved into another entity. Pixels, building blocks, bytes of information all comprise these accretions of material and form. It’s in this spirit, that the urban archaeologist in me, wants to uncover, while I do the opposite of unraveling, these layers, links and webs that map out exchanges between avenues of communication and stratified histories of information, leading one to read between the lines.
Images culled from sketchbooks, done while in-transit-in a liminal state while waiting for something-are enlarged. Starting from the outside of the page and working inward, using various implements found around the studio, the image is engulfed by lines until it winds its way to the center of the page. This is a meditative, repetitive process, whereby the end result resembles annular rings in tree growth, the breakdown of the original image is made apparent. Using the “draw-rings” as a point of departure, templates are made from them, and transposed onto clay forms. Multiple coats of plaster, sealed with resin and wax after it’s cured, are poured over the clay, obscuring its original form. Once the clay is extricated from the plaster, a hollow pigmented plaster structure remains. The footprint of the clay form, gone but not forgotten, creates a presence of its absence. Throughout this entire process of exploration, the co-dependent bond between image and memory is revealed.
Utilizing remnants of communication and energy connectors acquired through various job sites visited, I am bringing attention to notions of recycling and reclamation of recently considered antiquated materials. Networks of material, color, form and texture course throughout the scavenged linear debris. Materials such as wire, rope, twine, etc mimic the drawing process, snaking physically around three-dimensional forms suspended and mounted to various structures. The lengths of the connectors are cut to twice my wingspan, as if I could “wrap” literally, my mind and body around these ideas/forms as they devolved into another entity. Pixels, building blocks, bytes of information all comprise these accretions of material and form. It’s in this spirit, that the urban archaeologist in me, wants to uncover, while I do the opposite of unraveling, these layers, links and webs that map out exchanges between avenues of communication and stratified histories of information, leading one to read between the lines.
