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CDs and Theremins
Event Horizon, 2012
Dual Wielding, 2012
Entropy, 2009
Rewind, 2009
These artworks are site-sensitive installations primarily constructed of thousands of donated CD’s. The discs are tied together with the text information on one side of the sculpture and the shiny side that hold information on the other.
Dual Wielding, 2012
Entropy, 2009
Rewind, 2009
These artworks are site-sensitive installations primarily constructed of thousands of donated CD’s. The discs are tied together with the text information on one side of the sculpture and the shiny side that hold information on the other.
player pianos and victrolas
Wow and Flutter, 2011
Dual Drawings, 2012
The Player Piano, like the Victrola and Music Box, is situated in a technological history of automated devices that read inscriptions and codes to produce “live music.” This can only be repeated using the machines designed in tandem to match that code. What happens to player piano rolls, cassette tapes, CDs, and so on if the companion machine is broken, missing or forgotten?
Dual Drawings, 2012
The Player Piano, like the Victrola and Music Box, is situated in a technological history of automated devices that read inscriptions and codes to produce “live music.” This can only be repeated using the machines designed in tandem to match that code. What happens to player piano rolls, cassette tapes, CDs, and so on if the companion machine is broken, missing or forgotten?
pre-fab(ulous) and divertissement
Pre-fab(ulous), 2009 - the convenience of prefabricated goods combined with the desire to be fabulous.
Divertissement, 2007-2009 - the a brief entertainment or diversion, usually between the acts of a play.
Questions about perception and happiness are foundational in these artworks. Although media vary, certain questions recur: Is it contentment, ease, lack of pain, control? How much of life is a perception that “happiness” is almost within grasp?
Divertissement, 2007-2009 - the a brief entertainment or diversion, usually between the acts of a play.
Questions about perception and happiness are foundational in these artworks. Although media vary, certain questions recur: Is it contentment, ease, lack of pain, control? How much of life is a perception that “happiness” is almost within grasp?
pink forces of nature
Forces of Nature: Tornados and Hula Hoops, June 2007, July 2008, May 2009
Forces of Nature: Whirlpools and Walmart Bath Rugs, September 2008
Forces of Nature: Hurricanes and Slinkys (indoor), October 2007
Forces of Nature: Hurricanes and Slinkys (outdoor), August 2007-2010
Combining natural forces of storms with simple toys, these installations juxtapose the seductive fear of storms with the sweet, candy-colored joy of play.
Forces of Nature: Whirlpools and Walmart Bath Rugs, September 2008
Forces of Nature: Hurricanes and Slinkys (indoor), October 2007
Forces of Nature: Hurricanes and Slinkys (outdoor), August 2007-2010
Combining natural forces of storms with simple toys, these installations juxtapose the seductive fear of storms with the sweet, candy-colored joy of play.
outdoor sculptures
Canopies: Groin Vaults and Chain-link Fencing, Louisville, Kentucky, 2011
Bottle Shock, Forecastle, Louisville, Kentucky, 2010
Brew History: All Bottled Up, New Albany Bicentennial Public Art Project, New Albany, Indiana, 2010
Forces of Nature: Hurricanes and Slinkys (outdoor), August 2007
Islands, Yards, Worlds, Franconia Sculpture Park, Shafer, Minnesota, 2004
My outdoor installations in Minnesota, Kentucky, and Indiana encouraged audience interaction with the artwork and at times even included sitting on the sculptures.
Bottle Shock, Forecastle, Louisville, Kentucky, 2010
Brew History: All Bottled Up, New Albany Bicentennial Public Art Project, New Albany, Indiana, 2010
Forces of Nature: Hurricanes and Slinkys (outdoor), August 2007
Islands, Yards, Worlds, Franconia Sculpture Park, Shafer, Minnesota, 2004
My outdoor installations in Minnesota, Kentucky, and Indiana encouraged audience interaction with the artwork and at times even included sitting on the sculptures.
