The culmination of over three years of research and art-making, clear, hold, build, has been installed at the JD Brooks gallery at Fairmont State University. I’m excited to finally see the work all together, and look forward to seeing how it’s received by the public. A big thanks to everyone who has helped me along the way, and for the opportunity to exhibit at Fairmont State University. Below is the synopsis of the exhibition, giving some details behind my thought processes and why I’m working the way I’m working, and making what I’m making. Please join me February 12th @6pm for the closing reception-
“My research as an artist targets both the controversial and formal aspects of who we are as individuals and as a working collective in contemporary society. The work is an investigation into materials and processes, and how these elements work with each other in the realm of industry, structure, aesthetics, and abstraction. My constructions often reference the figure as a human, individual, or element within our social networks. My continuing experiences as a creative maker give me a unique perspective on the importance of different construction-grade materials, and how our dependence on function and structure can be a conceptual and aesthetic venue. I am also attempting to show that the utilization of these materials and processes are necessary within our society, can enter political discourse, and yet are rarely relished as an artistic edifice.
My recent and continuing research into American policy decisions and their broad implications on our citizenry and beyond, has been a fertile conceptual and aesthetic repository. clear, hold, build is a direct reference to contemporary US military counter-insurgency strategies, but focuses in on the continuing degradation of our domestic infrastructure through a series of free-standing and wall mounted works. These emblems of infrastructure are juxtaposed against imagery of, or references to, military machinery or intelligence technology, which all to often dominates our budgetary priorities. The need to “take back” and “re-build” our critical civil engineering components such as bridge hinges, support girders, and highway systems that are often ignored is the nexus of the exhibition. The scale of the free-standing work, with subtle combinations of weathered paint, oxidized alloys, natural and treated wood, and industrial fasteners make the pieces approachable, yet dense and stoic, while the wall-mounted precision road sign installations offer a more cold and calculated interpretation of our current domestic infrastructure crisis.”
1. “Life Changing” (Iowa) 2015 18”x24” high definition vinyl waterjet print on steel support structure
1. “Enjoy The Show” (Missouri) 2015 18”x24” high definition vinyl waterjet print on steel support structure
3. “Native America” (Oklahoma) 2015 18”x24” high definition vinyl waterjet print on steel support structure
4. “Feels Like Coming Home” (Mississippi) 2015 18”x24” high definition vinyl waterjet print on steel support structure
5. “America Starts Here” (Pennsylvania) 2015 18”x24” high definition vinyl waterjet print on steel support structure
My piece “seized” was accepted to the HWD: Regional Sculpture Competition in Kettering, OH in late August. “HWD, or Height x Width x Depth, is a juried exhibition celebrating three-dimensional artwork by artists from Ohio and surrounding states. Established in 2007, HWD is the region’s only gallery exhibition focused exclusively on sculpture. An opening reception will be held on Sunday, August 25, 2013, from 2 to 4 p.m. All artists and the public are invited to attend. United Art and Education Awards are presented at 3 p.m.” Below are updated images of the accepted work, I’ll be crating and shipping early next week-
Student work from 3D Design and Sculpture I at FSU
The first semester of the new sculpture program wrapped up last thursday with final critiques, and the students rose to the occasion. Lots of sweat and tears, but only minimal blood, so that’s a plus. The 3D students researched and built scaled-up pieces in the style of Claes Oldenburg, using mostly foam, paint, and some found objects. Scale was critical, and they pulled it off. The Sculpture classes had the opportunity to build a sculptural table, with function being optional. There was a broad range of outcomes, from finely crafted functional furniture to interesting sculpture.
Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. During summer 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers worked in public workshops at MoMA PS1 to envision new housing and transportation infrastructures that could catalyze urban transformation, particularly in the country’s suburbs. Responding to The Buell Hypothesis, a research report prepared by the Buell Center at Columbia University, teams—lead by MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture—focused on a specific location within one of five “megaregions” across the country to come up with inventive solutions for the future of American suburbs. This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.