Snow and ice deflect much of the sun’s thermal energy. However, as snow melts the darker ground cover beneath absorbs more energy increasing the rate at which the surrounding snow dissolves. This positive feedback loop is called the albedo effect.
While residents of the north have always reworked found objects in response to their immediate needs, today the task is more demanding. The Arctic is grappling with the consequences of human actions performed around the world. By quilting together second-hand clothing to re-make snow, Arctic Survival Blanket investigates repair. Life in Alaska is not a story of triumphantly escaping into the wild but rather a process of adapting to the challenges at hand.
Anchorage Museum at Rasmuson Center, Anchorage Alaska, 2011
Pine Box Art Center, Baltimore Maryland, 2012
Art Factory, Patterson, New Jersey, 2013
Arctic Survival Blanket, 2012 quilted second-hand clothing 12’ x 14’ x 4’
Incorporated into a machine shop dating from the late nineteenth century, Accompaniment involves a recital played on a kinetic contraption composed of repurposed objects. The installation performs in unison with the buildings other machinery. When the instrument is “played” the action of a central tractor engine sets in motion a network of aerial belts, which revolves an oil drum covered in carved carpet. The drum in turn depresses an array of keys on the wooden keyboard performing a silent display. The sculptural assemblage simulates the action of a music box but lacks an audible yield. A manifestation of amateur engineering, Accompaniment does not strive toward musical expression but labors to reconstruct the absent musician.
WA Young and Sons Foundry and Machine Shop, Rices Landing, Pennsylvania, 2014
University Museum, Indiana University of Pennsylvania, Indiana, Pennsylvania 2012
Salvaged oil drum, carved carpet remnant, particle board, metal tool box, birch plywood, solid cherry, O-ring cord and miscellaneous hardware
42” x 54” x 144”
Compacting Breath utilizes the gradient that exists between a cold environment and a warm body to turn breath into a liquid that can be held in ones hand. The activity premiered in an unheated gallery during the winter of 2004.
Indiana University, Bloomington, Indiana, 2005
York University, Toronto, Ontario, 2004
Gallery 440, Columbus, Ohio, 2004
HDPE, machined aluminum, s. steel, pyrex, steel, concrete
30’ x 12’ x 10’
detail, Compacting Breath
An Interlude to Stillness
In the mid-seventeenth century, scientists determined that birds, mice, eels, snails and flies were unable to survive in a vacuum chamber. Nearly four centuries later, the production of stillness is less momentous, and the ability to re-animate an environment has some necessity. As populations relocate, weed-filled parking lots are left to frame vacant shopping malls, creating vacuous spaces that provoke a palpable sense of loss. An Interlude to Stillness presents a momentary remedy for a single site by offering breath to a forsaken place.
In reaction to the condition of abandonment and loss, An Interlude to Stillness attempts to re-animate an abandoned retail parking lot. The vacuous nature of the lot is subverted through the inflation of dozens of car-shaped balloons, which are sewn from second-hand bed sheets. A network of bellows powered by stationary motorbikes provides each inflatable with a continuous supply of air, while participants continually modify the composition of the inflatables, effectively performing the activity of a lively retail parking lot.
Robert Market, New Orleans, Louisiana, 2007
City of Braddock, Pennsylvania, 2007
second-hand bed sheets, motor scooters, steel, MDO plywood
80' x 20' x 6'
Rehearsing Spring consists of a series of heated aluminum panels displayed inside the gallery and the projection of full-spectrum light onto the adjacent sidewalk and road.
International Gallery of Contemporary Art, Anchorage, Alaska 2007
Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania 2008
The Production of Stopping
The Production of Stopping utilizes the friction inherent in operation of a mechanical instrument for the purpose of promoting discovery. On a damp day in early May visitors gathered in a fallow agricultural field to participate in the event.
Waterman Agricultural Center, Columbus, Ohio 2004
Resist Shivering explores caloric expenditure during exercise and the potential for appropriating this energy for the purpose of maintaining another person's body temperature. During the winter of 2006 slide rules were distributed through installations in fitness centers in Indianapolis, Indiana.
National Institute for Fitness and Sport, Indianapolis, Indiana, 2006
YMCA at the Athenaeum, Indianapolis, Indiana, 2006
INshape Indiana Health Summit, Indianapolis, Indiana 2006
Cleveland State University, Cleveland, Ohio, 2006
Notions of Expenditure, Chicago, Illinois 2006
Gathering Fallen Fruit
Gathering Fallen Fruit was initiated in an effort to approximate the scientific process through the making and presentation of charts representing the surface contour of an apple. The activity attempted to connect the act of gather and transmitting quantitative information through the exertion of a single performer as they moved between the orchard and gallery
Waterman Agricultural Center, Columbus, Ohio 2004
Fancyland is a participatory public art project that allows people to insert their portrait into a location of their choosing. The project transforms an accessible public site into a virtual scene that can be reinvented by the site’s occupants. The portraits document the aspirations of individuals, while collectively articulating the lived experience of a region.
Schenely Plaza, Pittsburgh, Pennsylvania 2009
Indiana County Mall, Indiana, Pennsylvania 2011
Quilt sewn from post-industrial burlap, second-hand bed sheets and grass seed. Installed on Craig Street in Pittsburgh, Pennsylvania for National Park(ing) Day.
post-industrial burlap, second-hand bed sheets, grass seed
19' x 5' x 6'
Charting Pogue's Run
Charting Pogue’s Run investigates the past and present characteristics of Pogue’s Run as it flows from the Neareastside neighborhood to its confluence with the White River south of downtown. Beginning on E. New York St., along the boundary of the Cottage Home neighborhood, a blue line and small iron markers map the stream’s 1831 path through the city. This addition to the city-scape traces the streams meandering path across 4.5 miles of Indianapolis.
Charting Pogue’s Run embraces the inevitable change that occurs in any landscape resulting in a project that is not only about change, but that itself changes. The clean-up along the banks of Pogue’s Run was a single day event that contributed to the ongoing efforts to improve the conditions of the waterway. The blue line mapping the streams prior path through the city will last for years and the cast iron markers will remain for decades. As the line through the city begins to disappear as the result of land development as well as vehicular and pedestrian traffic the absence of the line becomes a record of this action. These changes to the appearance of the project share a relationship with the natural changes that occur in the location of a tributary over a much longer duration of time. The observation of change requires a comparison of conditions and for this reason the project is intended to be experienced and subsequently revisited by individuals as they move through the city in the process of their daily routine. By mapping the prior path of Pogue’s Run through this ever changing portion of the city the project highlights this change and provides viewers with a public art work that assists in their recognition of the transformations that have occurred and continue to occur in the process of building Indianapolis.