Found materials juxtaposed into a social setting. A sculpture that plays dislocated sounds; to echo disconnected forms.1 A serial repetition of forms. A minimalist relief sculpture that is interactive.2 The needles measure the proximity of the viewer to the surface.3 A billboard and matching park bench. The viewer completes the piece.4 High art and popular culture in a continuously rotating cycle.5 An architectural feature presented... Read more...
Found materials juxtaposed into a social setting. A sculpture that plays dislocated sounds; to echo disconnected forms.[1](#fn1-6533 "_Multimedia Dome_, 2000. Astroturf, fibreglass, foam, pleather, plastic, electronics. 11’ diameter x 2’.")A serial repetition of forms. A minimalist relief sculpture that is interactive.[2](#fn2-6533 "_Presence Meter_, 2003. Analog meters, aluminum, electronics, glass. 5’ x 8.5’.")The needles measure the proximity of the viewer to the surface.[3](#fn3-6533 "_Presence Meter_, 2003. Analog meters, aluminum, electronics, glass. 5’ x 8.5’.")A billboard and matching park bench. The viewer completes the piece.[4](#fn4-6533 "_In Sit You_, 2006. Trivision billboard, park bench. 10’ x 20’; 8’ x 4’ x 2’")High art and popular culture in a continuously rotating cycle.[5](#fn5-6533 "_In Sit You_, 2006. Trivision billboard, park bench. 10’ x 20’; 8’ x 4’ x 2’.")An architectural feature presented as a sculpture. Thematically, an image of authority, of watchfulness.[6](#fn6-6533 "_Project for a New American Century _Room 1, 2009. Plywood, cement, glass. 18’ x 24’ x 24’.")The previous room informs the second one. The visual impression produces art works.[7](#fn7-6533 "_Project for a New American Century _Room 2, 2009. Paintings (4): Acrylic on canvas; 66” x 66” (each). Sculptures: Cement, laminate, plywood, hardwood, fluorescent light.")A series of works presented as if they belong to a locale, a formal movement, a place in time.[8](#fn8-6533 "_We Built Excitement_, 2012. Various sculptures.")A painting contrasted against a composed backdrop. Two forms challenging each other.[9](#fn9-6533 "_We Built Excitement_, 2012. Defrag. Acrylic on canvas, on vinyl background. Painting: 48” x 60”.")Sculptures and installations of similar and divergent aesthetics, composed into an exhibition space.[10](#fn10-6533 "_The Collaborationists_ (Installation view, room 01), 2013. Various works.")Colour takes the place of time, composing itself into positions of abstraction.[11](#fn11-6533 "_Flip Out_, 2013. Split flap display, silkscreened vinyl, powder coated metal, electronics. 9’ x 5’.")To arrive at compositions expressed through technology, computer code, and natural rhythms and sounds.[12](#fn12-6533 "_Flip Out_, 2013. Split flap display, silkscreened vinyl, powder coated metal, electronics. 9’ x 5’.")The exhibition space with built structures referring to architectural space, and also to mechanical paintings.[13](#fn13-6533 "_Pavilion of the Blind_, 2013. Blinds, panel glides, powder coated aluminum, motors, micro controller. 10’ x 32’ x 4’.")A rumination on modernity as opaque, translucent, and transparent.[14](#fn14-6533 "_Pavilion of the Blind_ (detail), 2013. Blinds, panel glides, powder coated aluminum, motors, micro controller. 10’ x 32’ x 4’.")To design a machine as sculpture that performs a recognizable but abstract task.[15](#fn15-6533 "_Input Output_, 2013. Powder coated metal, plastic paper, machinery, micro controller. 42” x 49” x 57”; Basket: 33” x 26” x 26”.")A geometric basket is filled with volumes of empty paper, and then retracted into a black void.[16](#fn16-6533 "_Input Output_, 2013. Powder coated metal, plastic paper, machinery, micro controller. 42” x 49” x 57”; Basket: 33” x 26” x 26”.")Google the search engine presented as friendly corporate citizen; a service that has changed knowledge.[17](#fn17-6533 "_Google_, 2009. Acrylic, powdercoated steel, electronic/ kinetic components, custom software. 27” x 60” x 5-1/2”.")Google, a form of total information awareness – always watching – following you.[18](#fn18-6533 "_Google_, 2009. Acrylic, powdercoated steel, electronic/ kinetic components, custom software. 27” x 60” x 5-1/2”.")A built environment that influences the works that are installed in it. The art works are suited to the environment.[19](#fn19-6533 "_Reel to Reel_ (Installation view), 2013. Powder coated metal, polyethelene film, motors, electronics (and Shredded).")Contrasted against Google: Listening to erased tape from the Watergate scandal.[20](#fn20-6533 "_Reel to Reel_ (Installation view), 2013. Powder coated metal, polyethelene film, motors, electronics.")Contrasted against server farms harvesting and holding all of the data ever produced, and that will ever be produced.[21](#fn21-6533 "_Black Boxes_, 2011. Powdercoated steel, elecronics, drywall, drop ceiling, lights, glass doors, carpet.")Depicting opacity and translucency against an optical background.[22](#fn22-6533 "_Smart Cube_, 2013. Glass, stainless steel, PDLC film, electronics (plinth). 26” x 26” x 26”.")The transparent void turns opaque when the viewer approaches the cube.[23](#fn23-6533 "_Smart Cube_, 2013. Glass, stainless steel, PDLC film, electronics (plinth). 26” x 26” x 26”.")And becomes clear when the viewer moves away from it.[24](#fn24-6533 "_Smart Cube_, 2013. Glass, stainless steel, PDLC film, electronics (plinth). 26” x 26” x 26”.")
Presence Meter, 2003. Analog meters, aluminum, electronics, glass. 5’ x 8.5’.
Presence Meter, 2003. Analog meters, aluminum, electronics, glass. 5’ x 8.5’.
In Sit You, 2006. Trivision billboard, park bench. 10’ x 20’; 8’ x 4’ x 2’
In Sit You, 2006. Trivision billboard, park bench. 10’ x 20’; 8’ x 4’ x 2’.
Project for a New American Century Room 1, 2009. Plywood, cement, glass. 18’ x 24’ x 24’.
Project for a New American Century Room 2, 2009. Paintings (4): Acrylic on canvas; 66” x 66” (each). Sculptures: Cement, laminate, plywood, hardwood, fluorescent light.
We Built Excitement, 2012. Various sculptures.
We Built Excitement, 2012. Defrag. Acrylic on canvas, on vinyl background. Painting: 48” x 60”.
The Collaborationists (Installation view, room 01), 2013. Various works.
