My recent work involves bridging the gulches between intentions and outcomes. I worked with friends in different coastal locations recording their response to images of folded paper mimicking the shape of a sail. Through a number of intentional situations involving a sail from a ship I made landscapes documenting the participant's response.
While working with the sail imagery I came across a painting by Surrealist painter Kay Sage (1898-1963, entitled In the Third Sleep and became entranced by her desolate landscapes featuring sail-like shrouds. I imagined contemporary landscapes inspired by her paintings by creating maquettes to get a sense of scale and feasibility.
Going deeper into the work revealed an extensive dialogue with circumstance as often things did not go as planned. I drew from happenstance to purposely undermine the narrative I initially perceived.
The landscapes became possible with the help of friends and community.
Night view of Well Past the Echo featuring the installation "Small Warning" Greater Reston Art Center, Reston, VA 2017
Another view of Well Past the Echo 2017
Well Past the Echo detail, maquette for "Flag Forest" 2017
Britta Joy Peterson, dancer, performs creative response to Well Past the Echo 2017
Sail Study in preparation for Well Past the Echo 2017
In the Third Interation, The Transitional Object, Lululemon Loft, Georgetown, Washington, DC 2017
Installation for Like Fine Wine, la Bodega Gallery, Baltimore, MD 2016
Volunteers for The Eventual Outcome of an Instant at Seligmann Center, Sugarloaf, NY 2015
The Eventual Outcome of an Instant, Seligmann Center, Sugarloaf, NY 2015
Continue the Temporary and It Becomes Forever, Zizek Studies Conference, University of Cincinnati, OH 2014
Two narratives overlap in Biography of Catastrophe and the Eventual Outcome of an Instant. The work is a documentation of a shift from one time and place to another. One of the sails featured in the book is used as the cover so that readers may hold the material being referenced in the narrative. The varied covers make each book a unique work in an edition of fifty with the title embroidered into the sail. Available Fall 2017.
Have You Seen Me? Climate March April 2017
Collaborative operation with Victoria Crayhon, Laure Drogoul, Erin Devine, Jackie Hoysted, Julia Bloom and Susan Hostetler. We employed the screamers of the Floating Lab Collective and iceberg imagery created by Victoria Crayhon from her research trip to Iceland and used them in the Climate March in April 2017, Washington, DC. Amy Goodman from Democracy Now! interviewed us and you can see it here at the 3:52:18 mark. The screamers projected a soundtrack of seismic sounds of icebergs melting with whistling wind mixed by Sue Wrbican and Edgar Endress.
The Frozen Car w/ Mary Carothers, 2008
During the winter of 2008 Mary Carothers and I froze a car into a solid block of ice in Michigan, the state of the birthplace of the automobile industry. The project took place during the Winter Carnival at Michigan Tech University, in Houghton, located on the western side of Michigan's Upper Peninsula. We worked with students, faculty and community members in dialogue about industry and the environment.
George Mason University photography students examined lantern slides illustrating various components of steam powered electricity plants at the turn of the century and created imagery addressing the words “water” and “power.” The images were displayed in light boxes with Silvana Straw's poetry and exhibited at Latela DC Gallery and GMU's Creative Writing department annual event Fall for the Book. More on this project and the student participants exhibited at Latela DC here and the write-up at George Mason University here.
The Floating Lab Collective
The Floating Lab Collective is a group of artists working collaboratively on social research through public and media art projects in Washington DC, as well as nationally and internationally. They experiment with the aesthetics of direct action in crafting responses to specific places, communities, issues and circumstances.
We recorded the screams of the public and composed them into soundtracks for the amplification devices "screamers" and played them in front of the New York Stock Exchange, the banks and the Treasury Department.