Streetlight for a Poet
Streetlight, security mirror, parking-lot line paint
40’’ x 60’’
Using a security mirror, parking-lot line paint, and a streetlamp, this work reconfigures materials historically used to organize and surveille public space, into an installation that provides a moment of play, interaction, and pause. Encountering the work from the ground, the viewer is at first drawn to the yellow lines on the pavement. Following those lines to the center they find themselves beneath a mirror mounted on a streetlight. Their personal action of looking up completes the image, the viewer suddenly held at center.
The 1948 Supreme Court case US v. Causby, states that the landowner “owns at least as much of the space above the ground as he (sic) can occupy or use, in connection with the land.” The video essay Fort Tilden considers this ownership of soil as extending into air and water, challenging this narrative by flying a kite on a private track of land.
Video essay, 3:49
Parachute-style kite sewn from 15 open flags
5’ x 18’ x 1’6’’
To Hold WaterChallenging notions of private property and surveillance, the exhibition To Hold Water uses the convention of the “God’s eye view" to investigate the implications of the human impulse to survey, organize, and control that which is uncomfortably unknown. The works meditate gaps left from the traditional top-down perspective, creating a portrait of precarity inherent in understanding oneself and one’s world from above.
Materials: Water traveling on rope, a pump, two monitors and a projector
Featured Video: Self Portrait
This two-channel video is a meditation on the camera as a technology for extending sight. Using simple mechanisms to send the camera above and below Lower Manhattan, the work images the desire to reach outside of self and surroundings, to see beyond a singular personal perspective.
Work for Texas
A series of site-responsive installations and interventions that challenge Texas’ culture and policy around the issue of land ownership and resource use. Expanding from this local context, the works define and investigate the human impulse to claim ownership.
Performance still, Video, 11:49
Flag erected in fenced-in abandoned lot
8x8 foot chainlink fence, earth, hardware cloth
3 ’ x 1’6’’ x 4’
Fence gate from the site of the OPEN video, cut into pieces and reformed
40’’ x 60’’
2018 Photographic document of installation in a recently discovered cave at Government State Park. Printed to match actual scale of the space.
Drop ceiling tiles, steel, 2x4s, drywall, molding, vent, electric heater
8’ x 8’ x 2’
In the center of the work there is a hole that leads to a contained compartment. The space inside is warm, heat radiating from the interior. The sensory experience of interacting with the sculpture reflects the vulnerability of engaging with a cave space. The work asks the viewer to trust the structure, contorting their body in order to experience visceral sensation.
Cave Part B
Interactive Cave Model
A digital experience of the cave model is paired with the drop-ceiling installation described above. One is a direct visual model of the cave while the other simulates the physical experience of being in a cave. The viewer experiences these two re-creations separately, segmenting a full understanding of the space. Together the works speak to the challenge of fully conveying the visceral experience of interacting with a wild space.
Used wood, marine foam, anchors
8’ x 8’ x 4’10’’
Bodies of water are typically deemed outside of ownership.
As public spaces they serve as rare surviving examples of a commons, a space that is self governed by the surrounding
public. In the winter these northern Maine lakes become populated by small make-shift shacks, temporary structures
for gathering and fishing. The architectural sculpture "Common Ground" translates the intimacy of these winter huts, allowing us to be at once
outside and inside, isolated and together.