The Maze

For hours I would sit, creating mazes; usually for no one. The walls were characterized often by a constant shifting of stylistic elements as well as size, the space between walls often shrinking down to the point in which only a magnifying glass could see. At the age of five i was truly interested, but was unable to articulate even greater relationships beyond that within the page. Now, in present day, becoming fluent in the language and philosophy of art while simultaneously returning to the roots of my innate interest in relationships, it has manifested itself into something much greater. I, my friends, my family, and the greater context of interpersonal and environmental relationships I effect, have entered back into the maze. This maze has no beginning or end, and it's walls are subject to my perception of their variation. Only a truly interested individual can differentiate the relationships between ever changing boundaries, and, only a highly creative individual can understand the context and nature for which the subjectivity of these walls is therein derived. The capacity to join in this constant redefinition of thought is measured only by the interest of the individual to understand the beauty, conceptualization, and reappropriation of space which constantly stretches and molds the reality in which I exist. Many will be lost, for I always am, and only in finding comfort in the constant redefinition and articulation of change can one truly ground themselves to something so subjective. As I have found my anchor in the fascination with constant relational shifts, I hope to be able to relate these ideas so that others may generate equal amounts of complex abstract thought that are true purely to themselves; developing their own personal parallel maze which operates in conjunction with my own. There is a time to be lost, and there is a time to be found--now they are one in the same.

Pretty Song

From Errollyn Wallen;

Production: The Girl In My Alphabet

Piece: are you worried about the rising cost of funerals? five simple songs: guru



I have the answer
The answer’s in a bottle
the bottle is on the mountain
and the mountain’s by a river
and the river runs to me

I have the answer
and it’s what you want to hear
and I’ll tell you what you eat
and I’ll tell you what to wear
and the road is not too long
and the way is not too hard

but I, only I
have the answer

for nobody wants to be alone
nobody wants to be a fool
and you want to live forever

and nobody wants to be alone
nobody wants to be a fool
and you want to live forever
I’ll set you free.

The answer’s in a bottle
the bottle is on the mountain
and the mountain’s by a river
and the river runs to me

I’ll set you free
free from yourself

5 historical monuments

dimensions: 70'' , 60'', 105''

medium: latex gloves, fiber glass, plastic, light fixture, gallery space

year: 2007











5 Historical Monuments

This piece was about the trail of action that is left behind; footprints, brush strokes, craft, construction. It is about how these traces of action build into a form which both gives and is a part of a greater context of everything happening at once. I wanted to literally freeze the traces of a repetitious action, symbolic to the patterns which govern the equivalence of time and space.
I dipped my hand in fiber glass, and put it on the mound, then would release the glove as a trace that my hand had been there. Initially I had thought to record this process on camera, but then realized that any capture of an action does not recreate the initial process, and so i found it arbitrary. A measurement of action. Time does not exist in that sense--things move--it is just one continuous action. This action is a constant interchange of space changing position; by the same line that brought the materials I used for the piece into my possession, it was the same action which brought the idea into my head, and left it all in a heap from which society may draw a greater context. After all of this; the idea that the only thing that I can capture is a tangible manifestation of this constant action, and never the action itself, parallels that of the craft and idea that leads an artist into the creative process.
I pay homage to the materials I use by titling each of them as a historical monument, and then lastly, identifying that the 5th and only true material of the process is the context which governed them into their situation; being the reason I listed "gallery space" as a material. The gallery serves as a miniature model for this piece, and the process of positioning the gloves transcends the space that the piece will ever occupy. As soon as the last glove was placed onto the piece, the piece ceased to exist.
I decided to light the piece as a statement about the allure of the senses. As an angler fish reels in its prey with a light, we similarly are bound to gravitate to our own sensorial definition of space. Often, in nature, and in myth, it is the gravitation towards light that prevents one from experiencing the true beauty of the presence and consciousness that what we are (ie. the inverse of our body, the space which we do not fill in the universe) transcends our ability to understand.
As I look at the materials, within themselves, as works of this process, others look to the product of my actions with these materials, as though somehow they were not a part of it. I did not make this piece. It just happened.