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I have always been interested in the psychology of choice.
Our path in life is constantly dictated by decisions; both
conscious and automatic. The
perceived opportunity cost of one choice verses another is the driving
force behind our individual lives and society as a whole. Much of
my work focuses on an interest in the body and mind itself…my body, viewers’ bodies, physical and
psychological interaction, and our existence in space and time with
relation to other people, objects, and phenomenon.
Recently, I have been investigating physiological
properties of light, the relationship of architecture to the body and
the anxiety of absence. Centered on a
material exploration of shining a bright sodium vapor grow light through
cooking grease on paper within a structure of flat stock steel,
YUM became much more than my
original intent. Written in
the Krispy Kreme donut script, the word “yum” uses light to transform
gross used grease from frying food into a beautiful glowing sign that
fills the space with fleshy colored light.
Thus the “Homer Simpson” method of testing food by sitting it on
a paper towel to see its ability to fatten Homer up so he can collect
disability is turned into fine art.
Although this is a nod to Pop Art and the overall structure
references the food pyramid to speak of food choices and a marketing
build up to emptiness, my primary interest is in the Minimal aesthetic
of square enameled units in a regular pattern.
Why does such a pattern evoke Minimalism?
The square units are based on function – I designed them to hold
2’ by 2’ light fixtures common in buildings everywhere: greenhouses,
warehouses, schools, offices, even homes.
The fact that a unit based on a common architectural element is
immediately deemed minimal speaks to the pervasion of art into daily
life through the environments in which we live, work, and learn.
Although Modern and Postmodern architecture have not brought
about the dream of a utopian change in society through curtain walls
made of glass, it has changed perceptions of the built environment and
entered the realm of popular culture.
Today, the effects of minimalism and post-war architecture are
apparent in everything from furniture and appliances to playgrounds to
packaging. The industrial
processes that gave artists and architects the ability to produce such
clean, precise works have in turn led to the ease with which similar
designs can be mass produced on a global scale.
For example, consider the wide availability and relative
cheapness of Ikea furniture.
Although I use these processes, my work is distinctly handmade and one
off, signifying an ironic salute to the appeal and assimilation of clean
aesthetics, yet rejecting the ease with which such objects can be copied
and produced in multiplicity.
Off site prefabrication of building sections which are
transported by truck or rail and quickly assembled into structures is a
prime example of efficient logistics in today’s world.
Getting things where they are wanted at the right time is the key
to successful businesses; for example the point of sale inventory system
pioneered by Wal-Mart and the zero inventory system conceived by Dell
Computers. Building art with
industrial processes then transporting it to and assembling it in a
gallery space relates the work to the global system of commerce through
these logistical concerns.
Another system present in the work is electricity.
The artwork is itself a consumer, using electricity to produce
light. When plugged in it
instantly becomes part of the world-wide network of power.
The organic qualities of electrons flowing through “the grid”
that constantly enter and exit our homes imbues a sort of life like
presence to the cold, harsh white steel structures and is signified by
exposed wiring and light. In
the later work it is the antithesis of the controlled nature of the
structures – passing through crooked, off center wiring, giving rise to
sensations of danger and unease.
Almost two separate entities, the structure and the electronics
create not only create a heightened degree of visual tension, but serve
as a highlighted entry point for conceptual interpretation.
Further anxiety is communicated through the architectural nature
of the sculptures themselves.
As a sort of pyramid, YUM led to other empty sign like works
whose designs reference the most basic structures that are used to
create space - the column and post and lintel.
At its most basic, architecture revolves around shelter and
monument. Therefore, I use
architecture to signify an implied absence or presence of people.
The emptiness of the works and stark white finish elicits the
sublime and a nostalgia for the past in similar fashion to the white
marble ruins of ancient Greek civilization.
White enamel also speaks of domesticity, the appliance and
commercial mass production.
Well designed, logical forms command belief that they have been created
for a particular utilitarian purpose or to fulfill a specific need.
As pseudo appliances, the works ambiguously hover outside
classification – giving uncertainty as to whether they are art, light
fixtures, architectural elements, or unfinished signs.
Other than word of mouth, signs are about the earliest form of
marketing there is. Even
before writing, graphic representation communicated where goods were
available for trade. Today
signs have evolved to ten story high plasma displays and enter the
sanctity of our own homes daily through television, junk mail,
magazines, even as labels on the clothes we wear.
The calculated allure of the cutting edge and state of the art
has brought about an unsustainable culture of disposable objects.
Architecture itself is often only intended to last three or four
decades before being demolished and replaced.
Planned and perceived obsolescence have resulted in a system
based on being unhappy with what one has.
The empty sign reflects the cycle of build up to an unfulfilling
climax of our materials economy and debt based monetary system.
More eye catching than signs themselves, is the light that
beams out of them. I am also
interested in the innate physiological attraction of light and its
exploitation by marketers to attract and “grow” consumers as one would
grow plants in a greenhouse even out of season.
Using harsh fluorescent tubes and overdriving them to be twice as
bright as normal creates an overwhelming flood of tonally flat light
that fills the gallery. A
direct physical response to the light is slight discomfort to viewers’
eyes from the intensity of the bulb.
Interactive in a different way than my past work, the lights
leave a temporary purple ghost image in the viewers’ cone of vision –
like the warmth from a handshake or sensation of touch fading away after
contact. The cool color
temperature of the light and constant buzzing of the ballasts is a
particularly unnatural combination, a high contrast from the warmth and
silence of the sun. In the
upcoming months, I intend to continue working with these themes and
further exploring bodily consciousness and the psychology of choice
through objects in space. Back to statements |
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