I’ve been thinking of salt as a kind of embodied and transferable memory. Excavations of ancient seas, long dried up and now far beneath earth’s surface, warrant salt that we sprinkle on food and that absorbs into our body. Salt we sprinkle on roads. Salt that then dissolves and leaches back into the soil when it’s rained on. I keep these thoughts near notions of home. Notions that home, and our proximity to an orienting center, changes as one disperses – or is dispersed – into life. Or, more specifically, notions and memories of my hometown; a rural place that seems to also be dissolving back into the earth. At times these memories are washed away like the residue left on the skin, or in the mouth, after being in the ocean. It has a taste like perspiration, and it reminds me of the sea within the self.
Rooftop Pool is a reaction to ideas surrounding land/sea boundary change. It is a combination of my vision of houses under water (or ice), my interest in the material expressions of the oceanic experience, and my ever evolving relationship with the multivalent properties of glass.
PARTIAL CONSTELLATION (where am I)
Partial Constellation is a series of three glass discs embossed (in order of left to right) with the partial constellation of Canis Major, the full constellation of Ursa Minor, and the partial constellation of Orion. The discs have been embossed through a kiln fired process and then mirrored with a water gilding method. When looking into one of these mirrors, one's reflection becomes distorted by the warped glass in the pattern of the constellation.
Find the perfect store, that has the perfect shirt, and purchase that shirt. Wash the shirt, and dry it, then put it in the drawer with other work shirts. Take the shirt out of the drawer, wear it and be successful at your job. Come home, take off the work shirt. Eventually, wash the shirt, dry it, and return it to the drawer. The shirt may also be stored by hanging it on a clothes hanger in a closet.
Extension in a play on/with window space and a re-imagining of the role of the curtain.
Path is an installation of 12 sand lines on a concrete floor. The lines lay as markers, delineations of space, that serve to be material effected by the actions of that which desires to pass through them. Actions have directly resulting ramifications. This piece acts as a way for one to observe, in a particular case, the encounter of forces and the path evidenced by the ramifications of this encounter. The piece was completed by walking back and forth through the lines at a normal/comfortable gate, until all the lines where broken. It took roughly 22 minutes.
WIND FIRE LIGHT
WIND FIRE LIGHT is an Installation of stained glass panels at Crossroads United Methodist Church in Washington, IL. It was commissioned through and executed by Jacksonville Art Glass. My design task was to create a set of "abstract" windows, as requested by the commissioning board at the church. I decided to use the story of the Pentecost as my main reference. I felt that setting the elements of rushing wind, fire, and utterance to visual expression through the use of glass, lead, and light would be fitting through it's phenomenological spectal.