1986 Sculptural Void

In this series I give mundane items anew but damaged aura. I set out to change perception of the gallery space itself playing with the idea of the hollowed artwork. I would eliminate references to the outside world and turning to elemental properties.I then would creat a highly impersonal appearance. Sculptural void is carved through solid forms to allow a space to penetrate through them. I focused on the idea behind a given artwork. Going from concept to theme, a provocative space between the literal and the metaphorical. This process makes the wall an esthetic participant, rather than merely a neutral supporting surface. Ubiquitous white pigmentation becomes a materialization of light. A I use a reference calling up the vagina/cave associations as the invisibility of a social transaction and the proxy ritual. This process makes the wall an esthetic participant, rather than merely a neutral supporting surface. Ubiquitous white pigmentation becomes a materialization of light. I use a reference calling up the vagina/cave associations as the invisibility of a social transaction and the proxy ritual. A quasi-anthropological approach focuses on the abject being, the underside of a stable subjective identity.

The hole, reinforces one’s thoughts of a drain, below exposure in concealment. I use Richard Serra, “Verb List” 1968, a list of actions that a sculptor could use to create a sculpture. To roll, to crease, to fold, to cut etc.

I used the figural relief for its association with the empty rhetoric of public monuments.

Existence is a hole in which a subject might fall when its identity is put in question.

Painted on wood, each piece has an oculus through the work to the wall. This process makes the wall an esthetic participant, rather than merely a neutral supporting surface. Ubiquitous white pigmentation becomes a materialization of light.I use a reference calling up the vagina/cave associations as the invisibility of a social transaction and the proxy ritual.

Dashed lines are subtle signs of my interest in X-rays.

A vortex tunnel, Kafka’s image of the astronomer, Tycho Brahe, as a lone, stoic traveler on the whirling streams of the universe- and Brahe’s idea of Earth as the unmoving center of the celestial spheres. Theory substitutes for performance, detached and abstract, dealing with form, but more to do with affinity.

White is a tabula rasa for interpretation and psychological intervention. The mythological elements exist right alongside the scatological referencing.

216. HOLE IN THE OZONE

The idea was taken from Christine de Pisan’s book of 1405, CITE’ DES DAMES. It was her vision of three crowned women (Reason, Rectitude and Justice) Reason engaged in the labor of building—occupying the masculine space of architectural design and execution. Shown in frontal view connotes the earthly realm while the others stand, seen from behind repeating the ultimate veil of eyes lowered in concentration. Anatomical exactitude and soft edge all amorphous.

211. Icarus

This piece suggests the dual nature of the feminine, the individual and collective struggle. The events that connote airless colors from the Jacobean stage, of her death and rebirth. Played out in a never-ending cycle, like a glimpse of underclothing beneath the hem of a cassack.

214. TABLE OF SILENCE

I was at a dentist’s recently and it mad me think about internal and external space. I thought getting a work to be present, the constuctive myth of external form- in a particular field.

The floor is not what a sculpture sits on, but an element that embodies a kind of disire. A quasi-anthropological approach focuses on the abject being, the underside of a stable subjective identity.

I used the figural relief for it’s association with the empty rhetoric of public monuments.

Painted on wood, each piece has an oculus through the work to the The train station series parallel structure functions like a grid somewhat. Sense of sight is matched with the image of an eye.

Brahe’s idea of Earth as the unmoving center of the celestial spheres. Theory substitutes for performance, detached and abstract, dealing with form, but more to do with affinity.

White is a tabula rasa for interpretation and psychological intervention. The mythological elements exist right alongside the scatological referencing.