sculpture and installations
Projections 7 (gallery iteration) | wood, acrylic sheets, thread, hardware, illumination
Projections 7 (gallery iteration) | wood, acrylic sheets, thread, hardware, illumination
Projections 7 (studio iteration) | wood, acrylic sheets, thread, hardware, illumination
Projections 10 | wood, acrylic sheets, thread, hardware, illumination
Projections 10 | wood, acrylic sheets, thread, hardware, illumination
Projections 9 | wood, acrylic sheets, hardware, illumination
Projections 8 | wood, acrylic sheets, hardware, illumination
Projections 8 | wood, acrylic sheets, hardware, illumination
Projections 7 + 8 | wood, acrylic sheets, thread, hardware, illumination
Projections 6 | wood, acrylic sheets, thread, hardware, illumination
Projections 6 | wood, acrylic sheets, thread, hardware, illumination
Projections 2 + 3 + 4 | wood, paper, thread, mirror, illumination
Projections 1 | wood, paper, hardware, illumination
Projections 1 | wood, paper, hardware, illumination
Projections 1 | wood, paper, hardware, illumination
Projections series
Wood, mixed media, illumination
Installation views: Max Occupancy SF and Thomas Welton Stanford Art Gallery
Photos by Michael Bartalos and Anja Ulfeldt
Projections is an ongoing series that uses wood, light, and more recently color acrylic to create architectural enclosures large and small. The term ‘projections’ here alludes to both physical protrusions and thrown light. Together they serve to explore material / immaterial images, mappings, and malleable environments. The largest of these installations welcome guests into immersive spaces exploring light, shadow, and reflectivity.
Phase Transition
Metallized polyester film, acrylic dowels, overhead illumination
Installation view: Thomas Welton Stanford Art Gallery
Photos by Michael Bartalos and Sandra Kelch
Phase Transition was created from long strips of metallized polyester film (aka Mylar) draped into loops and hung from clear dowels, lit by colored flood lights overhead. The topmost Mylar ribbon’s path is based on a climate line graph showing Arctic sea ice extent over the last 1,450 years. Peaks and valleys (within reason) dominate the timeline until the arrival of the Anthropocene era, where the Mylar graph drops precipitously to the floor. Translating indexical data into subjective and symbolic imagery, Phase Transition suggests a state of vulnerability and transformation in which human presence is ever complicit.
RGB-123
wood, paint, hardware
Installation view: The Performance Art Institute, San Francisco CA
Photos by Michael Bartalos and Lili Ong
RGB-123 takes aerial surveillance for its subject. The artwork’s panoply of unmanned aerial vehicle (UAV) silhouettes float within a circular shape that suggests a viewfinder or the pupil of an eye. This 'lens' contains both earth observation satellites and nano drones modeled after winged animals such as bats, hummingbirds, and mosquitoes for monitoring human activity. The resulting composition invites viewers to contemplate the various uses, motives, and consequences of surveillance.
Tomorrow’s Headlines
Cardboard, wheat paste, paper, paint
Installation view: SOMArts Cultural Center, San Francisco CA
Tomorrow’s Headlines was created for the exhibition Get Lucky: The Culture of Chance, a celebration of John Cage that investigates the implications of chance operation in the arts and across cultures. My interactive piece invites the public to manipulate a set of forty cardboard boxes of various colors, shapes, and embellishments to create an evolving series of structural and graphic permutations over the course of the exhibition. By combining the boxes' diverse letterforms and symbols in various ways, guests may speculate on future language hybrids with which to write tomorrow's headlines today.