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A SAC OF ROOMS THREE TIMES A DAY A SAC OF ROOMS THREE TIMES A DAY

Vinyl & Fan Blown Air, 21'-0" x 9'-0" x 28'-0", 2007


A Sac of Rooms Three Times a Day stuffs the four rooms of an 800 square foot house into a building envelope of a 500 square foot bungalow. Through this misfit, an architectural space results with deformations, writhings, and contortions as the rooms inflate and readjust to their volatile adjacencies. Although the timed "score" of fans turning on and off remains the same for every performance, the material and architectural result of the vinyl sacks is different each time that the rooms fall upon one another in different configurations during the deflations. Sound piece between inflations by

FLATLAND FLATLAND

Various Construction Materials, Household Appliances, 5 People 2’-0” x 32’-0” x 24’-0”, 3 Weeks, 2007


Flatland's inclusion in the Happiness of Objects exhibition at New York’s SculptureCenter highlights a fundamental aspect of architecture: the reciprocal relationship between subject and object, between people and buildings. We choose and shape our buildings; then they shape us. This thin-sliced sculpture is a diagram of 5 people's lives over 3 weeks made completely visible. The rules are simple, if you go out you cannot come back in. The reduction of dimension and extension of duration in this building brings this imbricated flow of construction to the fore. Flatland was made in collaboration with Ward Shelley .

MELTING INSTRUCTIONS MELTING INSTRUCTIONS

Melting Ice 40” x 48” x 240”, 5 days, 2007


Architectural features give occupants instruction on how to behave in a space. At this site, the concrete bleachers direct visitors to “sit and look at the road”. This intervention relocates the instructions to “sit and look at the mountain”. As the ice melts the instructions return to their original orientation.

SNOWBALLING DOORWAY SNOWBALLING DOORWAY

Vinyl and Fan Blown Air13’-9” x 15’-0” x 10’-0”, 2007

Sited in an extant aperture of a roll up door, two forms of the same size pass air back and forth all day long. As one arch inflates the other collapses and air to fill the engorging arch is sucked from the other. The two arches are in mirrored orientation, participants can pass through the bottom arch until it becomes volatile and the upper up-side-down arch starts to displace its counterpart.

PAINTING INSTRUCTIONS PAINTING INSTRUCTIONS

Vinyl Lettering, a Floor, a Ceiling Dimensions Vary, 2007


Initially conceived through a collaboration with artist Noah Grussgott as a book entitled “Instructions for This Space”, this singular instruction has been exhibited on its own. It asks the interpreter to do ridiculous, paint a surface so many times that the thickness of each layer extends to touch the surface it faces in opposition.

SPIT SKIN SPIT SKIN

Saliva, Biodegradable Packing, 96" x 42" x 120" in December 06, 18" x 48" x 72" at present, 2006


This installation of licked together biodegradable packing peanuts contorts, deforms, and melts when it contacts water. Located in a subterranean bathroom at the American Academy in Rome, this saliva stuck skin served as a map of moisture exchange between leaky walls and the leaky bodies that occupied them. The shriveling and shrinking architectural performance for the camera questions the role of the recording and the object in our subjective perception of space.

SICK BUILDING SEQUENCE SICK BUILDING SEQUENCE

Clear Inflated Vinyl, Fan Blown Feathers, Digital Light Projection, 126" x 168" x 126", 2 minutes 30 seconds, 2006


Both edifice and event, this work uses fan blown feathers inside a clear vinyl room scaled inflated container to extrude a projected time based image into an architectural space that hovers between existence and oblivion. As an architectural performance Sick Building Sequence alters our perception of building to be, like our bodies, objects in flux. Accompanying sound piece by Yann Novak.

FOLDED MURMER FOLDED MURMER

Four channel video projection forty minutes long, 2006


EUR, the southern suburb of Rome planned and only partly executed by Mussolini for a Universal Exhibition celebrating fascist Italy is the setting for tens of thousands of starlings descend on the area at dusk in the winter months. This four-channel unedited projection takes one evening of this flocking phenomenon and "folds" a single moving image into a square room. The flow of the starlings moves from foreground to background as the image moves from wall to wall. This work was made in collaboration with photography by Richard Barnes (bottom image) and sound work by Charles Mason.

STILL LIFE WITH BEEFCAKE AND CHEESE STILL LIFE WITH BEEFCAKE AND CHEESE

Paper, Ink, & Scented Varnish, each sheet 34" x 21.5", 2004


Made in collaboration with Dieter Janssen this line of wallpaper explores color and scent in relation to their construction of a "succulent" space. Set up as three sheets with the same striped pattern, different ratios of scented scratch n' sniff varnishes and colored inks allow a room to be more or less visually or olfactorally intense but evenly delicious. The name of the wallpaper sets up an expectation of savory flavors in the color while the scent of donuts evokes an unseen sweetness.

JEALOUS POCHE JEALOUS POCHE

Single Channel Video 00:07:30, 2004


Jealous Poché continues my preoccupation with an architecture in which the line between occupied object and occupying subject loses clarity. In this territory we can examine not only the extent to which we subjectively make our surroundings but also the degree to which the objects in our built world construct us as subjects. My attraction to the endoscopic imaging key to Jealous Poché is this technology's representation of the interior spaces of the human body and the similarity of its inherent camera movement to a computer-generated "architectural fly-through."

LOVELORN WALLS LOVELORN WALLS

Vitreous China, 84" x 36" x 57", 2003-2004


Fabricated during a residency at the Kohler plumbing fixture factory in Wisconsin, Lovelorn Walls acknowledges the use of vitreous china for the seemingly dissimilar uses of plates, toilets, and architectural tiles. This installation is located in the bathrooms of the Tacoma Trade & Convention Center. Here, the toilet partitions are made from ceramic blocks imply edibility through utensil like spigots that appear on a few of the blocks. Those with this protrusion have deflated slightly and the space between them turns from a line into a pocket. In these voids, a few quiet moments of caulk were applied with a cake decorator to imply sweetness.

OCCUPIED OCCUPIERS I, II & III OCCUPIED OCCUPIERS I, II & III

I: Sugar, resin & vitreous china, 40" x 17" dia., 2004 II: Polyester resin, & urethane rubber, 97" x 17" dia., 2004 III: Polyester resin, & urethane rubber, 16" x 24" dia., 2004


These three objects, two columns and an ottoman, take their points of departure from both architectural elements and fruits. Through this combination, these objects imply something simultaneously surrounding and occupying a viewer. As a group this imply foodstuffs in flux: full, empty, and half eaten. Through this association, the expectation of change in buildings can be paralleled with the bodies of their occupants.

CAR WASH CAR WASH

I: Sugar, resin & vitreous china, 40" x 17" dia., 2004 II: Polyester resin, & urethane rubber, 97" x 17" dia., 2004 III: Polyester resin, & urethane rubber, 16" x 24" dia., 2004

These three objects, two columns and an ottoman, take their points of departure from both architectural elements and fruits. Through this combination, these objects imply something simultaneously surrounding and occupying a viewer. As a group this imply foodstuffs in flux: full, empty, and half eaten. Through this association, the expectation of change in buildings can be paralleled with the bodies of their occupants.

PEESCAPES PEESCAPES

Peescapes: Vitreous China, 32" x 18" x 26" (14" male), 2001


Peescapes view the removal of our bodily waste as a poetic opportunity. Each pair of urinals consists of one male and one female urinal. These diptychs use terms commonly associated with the choreography of water such as fountain, dam, and aqueduct to sensualize urine as it flows to the drain. These terms are used to inform alterations to the interior landscapes of urinals to aesthetisize rather than economize the removal of pee.

PEEPLE PEEPLE

Board Book; 7" x 6" x 3.75", 2002
Made in collaboration with Dieter Janssen Peeple are playthings for peetime. They are heat sensitive decals with two layers installed on the interiors of upright urinals. When heated by urine, the top layer disappears thereby revealing the characters in their underclothes. The narrative inherent in this unveiling explores the disjunction between a person's external presentation of him or herself and their private lives. This work is presented as a book in which three narratives unfold using various characters. This small thick board book's materiality alludes to child like play and humor while difficult subject matter is explored.