Works that change over time
Transformation has always been a constant in my work: from the accretion installations and changeable sculptures (using recombinant panels or sliced sections to remix and intermix works), to the use of iridescent paint which color-shifts at oblique angles, from the use of reflective materials that incorporate the surrounding colors, to the use of luminescent-paint with ‘reveals’ post-lighting; to ephemeral outdoor works that melt/decay with the weather… and now, with the work above, oxidization vs human touch.
The first work is changes in various ways: its made from interference paint, which shifts color according to the angle of viewing, so the ‘banding’ reveals; the image is done on thin linear panels whose order can be changed to deconstruct the work; and finally the painting also uses luminescing paint, which glows for about half an hour when the lights are turned off.
The next work below that is designed for where the space moves, but not the viewer. It was done for galley of a yacht, and as the boat tacked and the light tracks across the paintings, the woven stainless steel lines scintillate, like light sparkling on wave sets.
The work below that consists of a coherent image on long strips of paper, also made to be rearranged to disrupt the painting. (I find it very interesting how a very simple shape — a cirlce inside a circle — can become very complex when remixed.) However, this work is meant to be continuously chopped up over time, in to smaller and smaller component parts. Sometime in the future I imagine it will be thousands of postage size framed pieces.
Below that is a work wrapped in copper, which is changing color as it oxidizes over time. Viewers are encourage to touch or stroke the work, so that some sections may remain bright from polishing (as you see sometimes on public sculptures, where the toe or the nose has had the patina rubbed off by tourists.) The work is sold with a contract that must allow touching by onlookers.
Near the bottom are a couple projects in progress. One is an installation of the Shift/Drift paintings that have been and will be made in various countries, over time, into a world wide web of work. (The more countries visited, the larger and more complex the interconnected work becomes.) This will evolve over years.
The other image is similar, an installation that accretes over time as more and more participants are crowdsourced to add their ‘squeeze’. The ideal version of this work is to do it globally with people of all cutures and ages participating.
48 x 24, stainless steel, acrylic, wood
altering size, acrylic on paper
“Verdigris DNNT” 36 x 24″. 20,000” copper wire over acrylic on aluminum