VIEW IN MY ROOM
United States
Installation, Mixed Media on Other
Size: 240 W x 216 H x 144 D in
Artist Recognition
Artist featured in a collection
A site-specific installation at the Torrance Art Museum, from October to December 2006 . Descending from the ceiling in an equal progression of points that divide the lengths of the soffit into thirty-two segments, this drawing in space teems with visual activity. A single overhead point splits into dual trajectories, resulting in two squares plotted below on the pedestal. The colors used in the outer swirl are the reflection of that used to create the inner swirl, essentially flipping the piece inside-out before leading the viewers eye back up toward the ceiling. The title is a play on this action Fill it up and pour it down the inside. What was blue on the outside and green on the inside becomes blue on the inside and green on the outside.
Installation:Mixed Media on Other
Original:One-of-a-kind Artwork
Size:240 W x 216 H x 144 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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United States
The bulk of my work lies within the area located between art and design. Each space in which I work informs the optical order and systematic reasoning that is the foundation for my process. An entryway offers multiple pathways and destinations - each with their own readymade focal point, a soffit becomes the departure point of the piece and the work speaks of the architectural facet and quirks of the space. A shipping container's depth and repetition of indentations becomes the inspiration for a giant swirling aperture into an endless tunnel. Upon completion, these architectural site-specific installations share the cool slick look of advertisements, backdrops for fashionable clothing, and high design products. Made of translucent plastic, they simulate and reference our idea of "the future" and camouflage the handmade quality of the work. The site-specific architectural installations are assembled from thousands of strands of flagging tape, a colorful plastic ribbon utilized by surveyors to demarcate space on construction sites. This anonymous material is located on the periphery of our everyday life, manufactured in a wide array of colors and coded for multiple practical uses. When distanced from their intended applications, this material lends a manufactured quality to the pieces. The translucency of the material has encouraged me to experiment with light in later works, designing and fabricating diffusers, or sometimes building around the florescent tubes themselves, which share the industrial territory of the flagging tape. The tape becomes the surface and a point of departure for color studies, achieved by layering the material over itself, much like a painter would use a glaze, exponentially increasing the limited palette that is available. There is an inherent immediacy in the materials that I use, and the manner in which they are crafted is obvious and deliberate. Generally, a gesture is repeated over and over until the area is completed. Large-scale installations are defined entirely by their surface, hollow on the inside, challenging the notion that sculptures have both weight and volume. Essentially drawings in space, they bisect and alter our perception of the architecture and become seemingly kinetic as the viewer's orientation changes. This phenomenon occurs as a result of the combination of our sensory system with the physics of light.
Artist featured by Saatchi Art in a collection
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