Transpiration, 2017, site specific installation: tree limbs, hardware, plastic wrap, twine
1. To come about; happen or occur.
2. To become known; come to light.
3. To give off vapor containing waste products, as through animal or plant pores.
Origin: from Latin trans – ‘through’ + spirare ‘breathe’
The work makes visible the impact of human activity on nature as it unfolds over one year. Three living trees are encased shrink wrap. Will the generative force of the trees overcome the constraints of the plastic? Will the plastic attenuate or even suffocate the trees?
Installation Locations: Purchase College, SUNY, Purchase, New York
Dead trees and tree limbs are wrapped in plastic and suspended from live trees. The wrapped limbs do not reach the ground but are instead supported from below by a network of taught twine that mimics fungal networks that support living trees by serving as a medium for both information and nutrients. Without this twine network the dead limbs would quite literally twist in the wind. Even so, the labor spent fails to revive but, instead, only delays decay.
This site is a new, untended forest. The 1000 or so acres purchased by the art colony in 1902 had been clear cut and turned into pasture. In accordance with the Arts and Crafts orientation of the art colony, wilderness was allowed to re-take the hillside. The forest still reflects the dysfunction introduced by the clear cutting. Root systems are shallow and trees are easily toppled. The trees are of the same generation and many trees are at the end of their lifecycle. Demographically the forest is near collapse because there are too few young trees to support, rival, or replace the old.
Unbroken Mile, 2017, site specific installation: stand of birch trees and 5280 feet of twine, 4 x 60 x 30 feet
This piece addresses the land art tradition that disrupts a natural context through monumental interventions in the landscape. This work highlights unnoticed patterns in nature and the work itself is largely hidden unless illuminated by morning or evening sun.
Artefactual is distinct but related works that relocate female resistance. The work enlists Cycladic, 3D-scanned and appropriated female forms to excavate female power through shifts in scale and materials. They are fully encased, erased, and discordantly ancient and contemporary. Forestalling action requires work (in the physics sense) and the mechanics of restraint—plastic, metal, architecture, webbing—are sufficient only temporarily.
Artefactual—red, 2016, MDF, stretch wrap, steel base, wood, 34 x 6.5 x 5 inches
NOS. 199-204 IN A SERIES OF 3, 2016
Nos. 199-204 in a Series of 3, 2016, painted steel table, transfer prints, digital prints, clay tokens, glass jars, tamper proof tape, cardboard boxes, ruler, stainless steel tray, and 412 survey responses, 6 x 7 x 4 feet
The work converts the digital capture of an unquantifiable want into a physical artifact. The clay tokens, in seven shapes, are the origins of math, record keeping, and written language, specifically cuneiform. Clay tokens were used for 5,000 years before the innovation of making impressions of token shapes into clay tablets. It took a long time to disembody information.
Seven Figures, 2016
Seven Figures, 2016, site specific installation:
Location: Purchase College, SUNY, Purchase, New York