Collaborative projects with Roger Sayre
Socrates Sculpture Park, Long Island City New York, 2015
Full Tilt suggests a neighborhood bodega tipped on its axis. The work speaks to the demise of local business while positing a playful altered reality; one in which the store is relocated, operating in a parallel universe. This piece aims to address the wide spread and increasingly rapid commercial rezoning and economic imbalance in our city. The title “Full Tilt” evokes an image of a structure literally reeling from its external pressures while working at full speed to survive.
Full Tilt, detail
Full Tilt, detail
Full Tilt, detail
Full Tilt, detail
Full Tilt, detail
Eastern Washington University, Cheney WA., 2015
This work was created for the group exhibition "Small Towns" at Eastern Washington University, WA. Artists from across the country were invited to respond to the exhibition's title. Our contribution took the form of a monument to boom boxes and mix tapes. The work celebrates the radio as an individual's portal to a broader context and as a conduit between communities and individuals. The boom box itself, as an analogue piece of technology, takes on an iconic status that speaks to connectivity and correspondence just before the explosion of the digital era. It marks a time when mix tapes were unique physical objects that contained the labor of a handmade gift and shared something personal. The symbolic mixed tape in the image is labeled "from NYC with Love", a title that also acts as a postcard to the students and faculty at Eastern Washington University from New York City.
From NYC with Love, detail
From NYC with Love, detail
From NYC with Love, detail
South Orange, New Jersey, 2014
Counterpart is a looping image of balanced ladders that utilizes the pond as a reflective plinth. The title speaks both to the structural interdependence of the two ladders and the relationship between the form and its reflection. The repetition of the ladders visually complicates the structure’s boundaries. Consequently, the notions of climbing and descending are suspended in a circuit.
The form itself nods to Constantine Brancusi’s Endless Column. The color and the title further situate it within a history of outdoor sculpture. The red of the ladders evokes the colors found in the outdoors works of Alexander Calder and Mark Di Suvero. The word “counter-part,” broken down, alludes to the ladders as readymade sculptural materials.
Jersey City, New Jersey, 2013
Release is a site-specific installation at ArtBloc, a mobile art gallery built out of a pair of re-purposed shipping containers. For this installation we transformed the containers themselves into a sculpture that expels fog twice a day. The work collapses the beauty of a natural phenomenon onto an urban industrial landscape, prompting a contemporary discourse on beauty and fear.
Release, video
Bear Mountain Reserve, New Jersey, 2013
Don’t Sing To Me Anymore, Cicada takes its title from a Mexican folksong about finding peace at the end of one’s life. The sculpture is a string of hammocks that climb nearly 70 feet up into the trees creating an image evocative of ascension and calm.
