In Our Image, 2019 -
Using photos sourced from the 9 "Top Posts" of certain location tags on Instagram, I create 3D objects through photogrammetry to create user-defined portraits of each location.
Tangents, 2018 -
Cast iron trapezoids marked while molten. This growing collection of castings recalls the community needed to successfully conduct an iron pour. As I continue to cast Tangents into the future, they join an ever-widening circle, the repetitive marks within scoring a rough, continuous line. Each marked trapezoid lengthens and turns the trajectory, all while joining an ever-widening circle.
Each material that makes up this work is presented in various states of synthesis: they have been extracted, cleaned, reduced, colored, or treated. Smelting and then re-melting the metal; creating the plastics and then receiving the bags from a retailer; cutting, milling, and buying the wood — all represent periods of human time. Geologic crystallization follows similar pathways to the methods I used to grow the Crystal Age, but the time-frames are drastically dissimilar. The two concave forms of Artifice create an aural experience; a partial enclosure defining an intimate space. The bench between the two castings facilitates communing with deep time. By entering the language of furniture, this work invites conversation: both human-to-human, and human-to-artwork. This piece assists in the physical translation of deep-time action to a rate perceivable to the human body.
Time Becomes Us: Theses on Material, People, Place (...)
Sherman Clarke and I conceived this participatory artwork for a group show at the Cohen Gallery at Alfred University, titled Won't You Be My Neighbor. We provided a 1' x 1' x 6' empty form, and invited participants to add materials from either provided buckets or their own pockets. The audience built five feet into the six-foot void, creating a stratascape of the community. The work began as a riot of color and textures: saturated plastic-blues, emerald greens, hot pinks, and tangerine-oranges, covered with fingerprints, describing acute angles, stippled with sgraffito, and sedimentary in nature. After firing, all colors muted and browned, edges softened, and lines curved. The extreme temperatures the entire piece was subjected to homogenized tone and form, creating what now resembles a geologic fragment, metamorphosed. The piece aged.
Canacadea Creek Rundown (Cairn I), 2020
This is part of an ongoing project using this language of human-stacked stones to mark space. To create this work, I collected buckets of rocks from the Canacadea Creek near Alfred University's dumping grounds. Using these stones, I built dozens of cairns in ceramic kilns, and thermally fused each pile together. I then returned the cairn to the site, and photographed the marker atop human-induced geologic-esque features.
Imagined Stratum (Growth/Slough), 2020
This work projects the possibility of plastic-heavy sedimentary deposits of the future. Consisting of a 12” x 24” textured cast iron plane intersected by a 3” x 18" iron cylinder, the casting rebuilds a stratum, as if extending outward radially from a fabricated core-sample.
This body of work captures timeframes, occupying a thermal and temporal metallic space between molten and solidified. I have worked with iron and aluminum in this way, and have explored a number of methods and textures unique to this process.
Since before we wrote down our histories, humans have stacked stones to mark paths, dangers, burials, food caches, territories, or otherwise communicate common presence and location. While geological forces may leave rocks piled atop one another, they are never as intentionally arranged as the structures built by communities of humans. Cairns broadcast a message: “We are here!” Such temporal marks form this most basic human instinct of leaving records of presence, and allow both individuals and communities to outlast their biological timeframes. This is part of an ongoing project using this language of human-stacked stones to mark space.