The Boole 1.X and 2.X are iterations in a series of bicycle rim light sculptures. The sculptures employs salvaged bicycle rims from San Francisco non-profits focused upon bicycle accessibility and repair. The Boole 1.X use black elastic in an interlaced pattern, while Boole 2.X uses two colors of paracord for a denser design.
“Le patrimoine” combines with materials’ physical properties to yield pieces intimately connected to the Swiss Alps. I harvested pine cones from village trees and wood from abandoned furniture and the local carpenter.
The pieces rely on and highlight the physical characteristics of their materials. I modify materials as little as possible, trying not to manipulate them beyond their inherent properties. I let the dimensions of wood scraps dictate dimensions of the piece. Pine cone scales lend themselves to staggered stacking much like wooden tiles of Swiss chalets.
The series draws on land and environmental arts where the human hand manipulates and rearranges nature, injecting order into the entropic environment. These works are short-lived, temporal, site-specific, and experiential. Though using natural materials, in contrast, my work seeks to preserve and recontextualize while being experiential in a more intimate and personal way, hung on a wall or held in one’s hands.
In the “ wunderkammer” of centuries past, preservation and private individual delight created treasure troves of “arteficialia” and “naturalia”. My works carry the same appreciation for the material wonders both manmade and natural. Everything carries some remarkable aspect making it worthy of appreciation and elevation. My process embodies this idea. I diligently prepare, store, and employ materials which in their ordinary context would not warrant even an initial glance. I treat each individually plucked pine cone scale as if it were gold.
Unlike Joseph Cornell’s surrealist assemblages, my compositions take the form of regimented compositions. Despite the formal surface, they are “memory boxes”, each containing a bit of the essence of my life in the Swiss village.
Blown acrylic explodes in abstractions inspired by the waters of Ladys Cove in Marblehead, Massachusetts. Radial splotches visually reference sea life glimpsed in the cold New England waters at low tide. One representational element hides amongst the layers of paint, a single tiny lady crab (Ovalipes ocellatus) smaller than the nail on a pinky finger. The paintings explore ideas of personal perspective, influence, indifference, and our place in the wider world.
The Mistral Series is available exclusively through KnK Contemporary in San Francisco, California.
Six-pack rings discarded by suppliers restocking office vending machines in New York City don’t prompt thoughts of flora, but the properties of the maligned material makes it a versatile building block.
Flat planes of translucent plastic are folded and layered to create biomorphic forms inspired by plants and modern shapes. Early pieces employed multiple secondary reclaimed materials to create their structures. Later pieces are woven, using a technique developed over a year and a half that eliminates the need for connectors or adhesives. Each piece takes its name from the plant that inspired it. The name of woven pieces includes a number indicating the quantity of six-pack rings used.
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