House of Brick, 2012
This installation is designed to bring conceptual and physical awareness directly to the viewers and participants. Through physical means of construction the objects, cinder blocks are transported from their metaphorical quarry or point of origin utilizing the physical capacity of willing and able participants. This is done by the hands, strong backs, and feet of the participants thus fulfilling the essential performance component of this piece. Simultaneously, the performance demonstrates a system of cooperation which is a reflection of a social machine in positive action. A formula for moving an assembling the blocks at the new site is predetermined by the size and shape of the blocks themselves.
The blocks themselves are inherently dynamic in many ways as they suggest postmodern and contemporary methods of construction and thinking born from previous generations of engineers, architects, mathematicians, and conceptual thinkers. (see: Bauhaus Movement) The blocks used in this performance/ installation were made intentionally by hand, not extruded or cast by massive machines and dies of the modern world. Thus, the blocks are able to suggest pre-industrial age while dually maintaining a contemporary identity.
Though there are many ironies embedded within this piece it is fully realized as the blocks are assembled in mass. The individuality of the blocks is realized as none fit perfectly together nor do they stand together solidly as a true cinder block might. This new found conglomeration is dictated by the block and its shape consequently writing the formula as to how they might be assembled anew. Without the symmetry, material consistency, and engineering history of these blocks, they can exceed their more fundamental counterpart as metaphorical objects. This transcendence from lowly building material to elevated icon occurs through the handling of the object, the construction of the object, and the placement of the object.
Ultimately, one must consider the blocks beyond the spectrum and context in which they are presented. This work begs the questions: How are we different from these blocks? Who moves us? What moves us? What are we a conglomeration of? What do we really look like?
What isn't an ever evolving process and interpretation? In contemporary society so much is balanced by the past and what the future holds. What doesn't age and evolve in one way or another? Politics, technology, human societies, and art are elements an ever evolving conceptual process based on real and physical interactions, processes, and reactions. These forms embed the ethereal concepts of the passage of such processes. Through compulsory entropic processes imposed upon these arrangements reflect restructuring, rebuilding, and reinterpretation. The record of information gathered from my own social, technological and philosophical interactions are punctuated upon these forms through process of construction, destruction, and finally, reconstruction.
I was working with mechanical parts. My approach to materials begins with the potential of their physical existence. Observing natural materials in their social, industrial, and formal environment propels my work. I make an attempt quantify and reinterpret this dimensional information as it is, and for how it will be, a life time.
Throughout my process I am engaged in the potential energy of objects; whether it is a massive boulder left by the last ice age or structural piece of steel or concrete from a skyscraper. Energy and time combine to create such objects. Working with, and interpreting that object on a purely intuitive basis is one of the factors which guides my work. In this way I allow the material to dictate what the outcome is, not me as the maker. These objects portray the structural, geometric, and abstract potential of materials.
Deconstruktion: Phase One, 2012
EFFIGY: a collaborative process, 2012
2011, Hunter Gatherer
The installation below considers the hunter gatherer in all of us. The materials for this installation were all hunted and gathered locally. Once gathered the individual pieces began to evolve. Pieces were then arranged randomly on a plane divided into particular directions bisected by a circle. These directions are indicative of evolutionary or metaphysical paths we all take as a species: as thinkers, leaders, and followers. The commonality between these pieces becomes their origin: the light at the center of the circle. The circle itself becomes a boundary or a point in which the individual piece crosses to become something different: a realization or another evolutionary step in a continuous process, a point at which it must be recontextualized.
2011, RED CHILD
This installation utilizes the juxtaposition of man made and natural elements as a metaphor for current social and economic dependencies. Though contemporary design elements, using color, balance, and image, this piece questions the current commitments to oil, pollution, the environment, and the media.
2011, The Vault
The Vault is an composition of objects juxtaposed to initialize the contemplation of utility. Specifically, the use of materials such as paper, wood, and metal. Through the recontextualization of these elements, by elimination of their likely purpose, I am able to transcend contemporary belief and utility and bring to light the true beauty and potential of such objects.
The human figure with the head of an animal is representative of the relationship between humans and creatures. This depiction is a definitive reminder that we (humans) are no more than a species inhabiting the same planet as our fuzzy neighbors.
The figurines to be created will be representative of native species which are part of a regional ecosystem. In this exhibition they stand juxtaposed to man-made objects: concrete, glass, steel, vehicles and humans: i.e. Seattle.
The relationship between the clay and refuse from which the effigies are constructed and their industrial counterpart, mankind, becomes apparent through the degradation by the erosive weathering processes of nature. Through erosion, the structural framework of the installation is revealed to create subtle tension between mediums. Raw clay bodies show the fragility and vulnerability of species under the pressure of mankind; rigid sub-structures that supported the species also allude to a darker corner of human bi-products impact. In this way the effigies stand in gesture of submission to the surrounding metropolis.
This body of work focuses on the relationship between human impact on the landscape and the preceding environmental consequences beginning with the destruction and disappearance of the habitats of native animals. This installation considers the present course of human’s evolution and its detrimental impacts upon the land and natural resources.
Ø STRATEGY: CONSTRUCTION AND SET UP/ TEAR DOWN
Construction begins with our journey to Seattle from the Tahoe Basin. The Sierra Nevada College Clay Club members shall collect most of the raw materials for this installation en-route to the Seattle NCECA. Some materials will be sourced from zones soiled by human habitation (basically we will pick up trash) others will be from existing excavated sites (clay). Don’t worry, appropriate protective clothing and storage containers will be utilized.
The installation is designed to raise awareness of the environmental impact of pollution within ecosystems. This installation provides the SNC Clay Club with an opportunity not only to speak publically in a contemporary and alternative artistic fashion regarding this issue; it also allows members to actively address pollution by picking up “trash”, repurposing it, then disposing of it properly. Hopefully, the contrasting elements of the industrial cityscape and the recycled and organic nature of this installation perpetuate our intentions and concerns surrounding the issues of sustainability, environmental impacts, and use of resources.
This piece is also posed to raises questions to the viewer, such as:
How do we, as a race, affect the environment in our everyday lives?
In what ways can things be reused and re-purposed?
What role does technology play in our everyday lives to impact, positively and negatively, the environment in which we all live?
Are there solutions buried in the history of societal structures? What solutions are available to us now?
How do we/I consume resources? For what; why; when is it necessary? Who is affected? Are we on the edge?
I wasn't sure how inspired I would be first arriving on the site. After screwing around for about half an hour positioning buckets on and old snag I decide to lock in and commit to something cool. Literally, in the shade and cool. I used contrasting elements, stone and wood, but both of the earth. I formed a vertical row of twigs wedged perpendicular to the horizontal cranny that occurred between the boulder and the ground. Though the process of repetition and measurement a walled in space was created...a home, a vessel. The twigs and stone were a unique contrast when removed from their natural state of rest. I had conceived the idea thinking that it might represent a model of a contemporary living space in Tahoe. Really living in nature. Though the piece turned into a unique technical juxtaposition I still felt there were undercurrents of home, place, and, of course, the natural environment being augmented. Construction, The hand of man, and Nature combine.