This group exhibition took an experimental format of a theater production in four acts, curated by Ruslana Lichzter. Each artist had the opportunity to contribute a work, responding directly to the previous artist without removing anything from the gallery which allowed the works to accumulate on top of one another. The curator acted as a facilitator, providing only a gallery and rules which artists had the choice to follow or disregard. For my role as the Archivist, I took plaster casts of footprint impressions that were made in the ash by gallery visitors to the previous opening event. My final works intend to record the ubiquitous and fleeting act of a human footstep.
This private consideration at Lawrence & Clark Gallery presented by The Truth Guide For A Beginner’s Mind® measured physical contact with sculptures to help participants build a unified and collective intention from beyond individual bodies as seen from an aerial perspective.
Break the barriers between the physical and the metaphysical by
Dinner Party was a performative exhibition of scent at Tusk. The one hour event was a progression of custom scents, objects, writing, and presentations by Lindsey French, Joshua Kent, Matt Morris, Danielle Rosen, myself and an introductory scent-based “cocktail” by Mary Eleanor Wallace and Kate Sierzputowski.
Throughout the opening reception at Western Exhibitions the artists delivered a series of questions to large pieces of broken concrete. The rugged forms alternate between the performers and are held in a position to receive and mediate the flow of inquiry. This work culminates a two-year conversation between the two about love and desire, physicality and the sublime, but does not likely conclude it.
Variation on Support 1
sculpture, installation, performance and video
Through a constructed environment within the gallery space, a series of work sessions were conducted over the course of the exhibition. 30 shelves for thirty years of the artists life are removed from their wall mounts, carried, splayed, layered and stacked to create a series of formal arrangements. The shelves are cut to the width and height of artists body. This futile and at some points absurd act employs physical labor as a means of production and seeks no apparent end. The self and the shelf remain empty awaiting multifarious forms of fulfillment. A link to the live performance can be found HERE. This piece was curated by groupa o.k. as part of the MFA exhibition at the School of the Art Institute of Chicago in 2012 and more information can be found HERE.
Collaboration with Sarah Jones
A Search of the Cadastral Sort
Land surveying is a technique, profession, and science of accurately determining the terrestrial or three-dimensional position of points and the distances and angles between them. These points are usually on the Earth and are often used to establish land maps and boundaries for land ownership. It has been used since the beginning of recorded history and is used in the planning and execution of nearly every form of construction including roads, railways, reservoirs, dams, retaining walls, bridges and buildings.
For this piece sculptures were made to match measurements of the artists body. These include hip to foot, end of middle finger to elbow, foot to knee, length of hand and length of foot. During the opening reception of Garden Party these parts of the body are used as units of measurement by the artist to mark distances between individual audience members and the sculptures. These distances have been recorded in number form on the back of each sculpture.
This work was part of Hinge Gallery’s inaugural sculpture garden show Garden Party features the work of four artists dealing with the length of time things last. Curated by Karolina Gnatowski with a catalog essay by Dan Gunn HERE.
Performance & Installation
clay, MDF board, metal brackets, screws, pencil, ruler, stool
Within the broad and overarching realm of object production and consumption this durational performance work follows the complete life cycle of an object. The quickly made, unfired, clay reproductions of a Colonial Era porringer are used and discarded through the act of chewing and biting and the life of each object is recorded through a wall tracing.