Please find below a slideshow of several instances of my ongoing installation piece, life’s meaning is enriched by its fleeting and transient nature. The installation work is modular and dimensions vary from 3′ x 3′ to 25′ x 10′ which can be installed in single or multiple instances.
I have always been drawn to abstraction for its singular ability to inhabit a space that foregrounds contemplation, which is an approach to life I find to be of immense value. I remain influenced by Robert Irwin’s observation that the purview of Art is not objects but the shape of our perceptions and our state of consciousness. The work is modular and each instance does not exist prior to or after its exhibition- evanescent if you will, ergo its title, “life’s meaning is enriched by its fleeting and transient nature.”
I also believe “and” is an empowering little word, specifically when it is used as an alternative to “but” in order to avoid negation between two truths. The objects that are the result of my practice center contradictions, requiring the viewer to contemplate simultaneous and conflicting facts (e.g., the cubes appear to defy gravity and they also rely on it, as they are not mechanically attached to each other). “And” also shows up in other parts of my practice.
The object-making part of my practice is centered on an automatic “drawing” system. The work that results from this ongoing installation project is an extension of drawing onto the wall and into the third dimension, another contradiction. I treat the individual cubes as proxies for brush strokes or mark-making. Instead of traditional drawing modalities, I compose the work by choosing a cube, stacking it, and then repeating this process until the space allotted for the “drawing” is filled. As with all automatic drawing, no planning or intended end is envisioned for any instance of the work, making it an experience for me, and for the audience.
Painting After Art is Dead 