Long Time No Ocean, 2021, Geotextile, 46’’ x 35’ 6’’
I let gravity and wind change the message at points from legible to obscure. The banners here evoke an uncertain environmental future. I am interested in how the materially rendered words take up space around the trees, and on the other hand, how landscape shapes the language.
Beak, 2022, Paper Pulp, Photo, Wood, 57’’ x 42’’ x 32’’
End , 2022, Wood, House Model, 33’’ x 18’’ x 18’’
Hill, 2022, Thrift store coral, Matchstick house, string, wood, foam, 72’’ x 36’’ x 8’’
Zero, 2022, Geotextile, Wood, Foam, Paper Pulp, 108’’ x 72’’ x 60’’
Dive, 2022, Straight Edge, Interfacing, 40’’ x 60’’ x 4’’
Gnaw, 2022, Laser Print Poster, 36’’ x 48”
OK, OK, OK, OK, 2021, Foam, 7'' high, dimensions variable
With “ok,” I’m interested in the short word’s mutable meaning from positive to enthusiastic to harried to impatient and installed the individually cut words as a cluster shouting out of the ground. At the North Bennington Outdoor Sculpture Show, the grass was left to grow up over it through
the course of the summer, as another instance of legibility of the words depending on a site – in this case a changing one.
Insulation Wing Post, 2019, Insulation foil, Cedar, Styrofoam, 80’’ x 12’’ x 16’’
Corinthian Shim, 2018, Tyvek, marble. Dimensions variable.
For the exhibition Interdependence, I worked on the site of a marble quarry in the area where the stone for the Corinthian columns from the Supreme Court originated. Sixteen wind rustled paper thin forms represent the sixteen columns in the front of the Supreme Court.
Slip, Shift, or Spill, 2017, Tyvek
This installation developed out of a residency at Shelburne Farms, Vermont. For Burlington City Art's exhibition on the theme of water and the land, I played with ideas of material displacement - a major consequence of watershed. From sheets of Tyvek hanging down in the center of the space, cut out forms of trees spilled onto the ground now appearing like liquid. Drawn from the over 100 year old trees placed like markers around Shelburne Farms, the cut out forms left different empty spaces that appeared like unreal portals and burst-through holes.
Slip, Shift, or Spill, 2017, Tyvek
Slip, Shift, or Spill, 2017, Tyvek
Crevice Bouquet, 2014, 300 Flowers, Installation at Inside Out Museum, Beijing
For Crevice Bouquet, 300 flowers were placed in the spaces between slabs of stone around the grounds of a barren Neo-Brutalist museum which was located where family farm plots used to be.
Crevice Bouquet, 2014, 300 Flowers, Installation at Inside Out Museum, Beijing
Crevice Bouquet, 2014, 300 Flowers, Installation at Inside Out Museum, Beijing
IF, 2013, Interfacing Fabric, 77'' x 38'' x 3''
Call Lift, 2012, Wood, Foam, Cement, 8' x 40'' x 10''
Wrapped Ship & Wrapped Shelf, 2013, Plaster, Pulp, Ship Model, Disassembled Book Shelf, 45'' x 37'' x 9''
Wrapped Ships, 2013, Plaster, Pulp, Ship Model, Cinderblock, 34'' x 11'' x 14''
Wrapped Ship, 2012, Plaster, Pulp, Ship Models, Cinderblocks, 32'' x 18'' x 8''
Tell Me (video stills), 2014, video, 6:05m
Field Notes, 2015, Tyvek, Installation views in Groton State Forest
A series of idioms cut out of banners wrap around trees throughout the woods of Groton State Forest as part of Burlington City Art's program, Of Land and Local. In this work, language is juxtaposed with the natural world. The phrases themselves, disengaged from the words' roots, bring to mind everything except nature. Each word – mountains, stick, water, mud – instead refers to impalpable elements of the human condition – joys, achievements or conflicts.
Field Notes, 2015, Tyvek, Installation views in Groton State Forest
Field Notes, 2015, Tyvek, Installation views in Groton State Forest
Field Notes, 2015, Tyvek, Installation views in Groton State Forest
Roof Branch, 2011, Branch, Toy Model Roof, 9' x 24'' x 12''
Sitting Head, 2011, Paper Pulp, Foam, Cement, Pins, Stool, 12'' x 28'' x 16''
My Falluja (Leaning), 2006, Paper, Plaster, Wire, Newspaper, 4'' x 6'' x 3''