Selected art installations that I conceived, engineered, and constructed almost entirely by myself.
EVERY MINUTE LESS
“Every minute less” 2017, MDF, paint, steel, wood. 28 x 8 x 7 ft
Special thanks to Foundation for Contemporary Arts Emergency Grant, Smack Mellon, Paul Choate, Jesse Crozier. Drone footage by Eloy Vela.
Without the ability to read each word from above, the viewer must discern the words from the shape of the perimeter.
Text reads:
Every minute less
is 60 seconds more
together
I put my hands
down
on land
and I stop fearing
drowning
HOW I WAS MADE
How I was made, 2012, acrylic, wood, paint, light controllers, LED neon, 14 x 492 x 2.5 inches
Thanks to Green LED lighting for their generous support. Commissioned by Socrates Sculpture Park for the Emerging
Artist Fellowship 2012.
Questioning language and our personal construction of self through language, self-examination, and ultimately
self-discovery, the work constructs a visual poem where the content of the poem, the form, and the action of reading
dovetail to expand the readings of the poem. Constructed of wood, LED neon, acrylic, and utilizing light controllers,
the artwork cycles through the three line poem in 30 second intervals.
The poem reads:
I must name
to find I do not know
how I was made
VACUUM/PLENUM (THE COTARD DELUSION, INVISIBILITY, AND OTHER GRAVITIES)
Vacuum/plenum (the Cotard delusion, invisibility, and other gravities), 2009, mirror, two-way plexiglass mirror, aluminum, steel, casters, Dimensions variable, mirrored box is 4x4x7 ft
Utilizing over 400 square feet of mirrors, the installation allows the viewer to become disoriented, invisible to their own image, performer, and voyeur; to be inundated by their own image; and to switch between first and third person perspective. Inside the installation, the viewer can step into the 4x4x7 foot box on casters made of see-through acrylic mirror and move it around the room. From within the box the viewer is unable to see their own reflection in the mirrors in the room. At times it becomes difficult to navigate the room as the viewer sees reflections of reflections of the room (essentially a third person perspective) and becomes unable to determine their exact position in the room relative to the wall or other people. By moving the mirrored box throughout the room, the viewer becomes a performer in the work. The same can be said for someone outside the box as their reflection is scattered about the room.
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