Printed Installations
Starting in 2012 I began to expand my prints beyond the confines of a standard format. I started by printing the objects that had been populating my prints to that point, cones, beer cans, vases, boards, building debris etc, onto this sheets of paper and then cutting them out. These cut outs were then wheatpasted directly onto walls to create large scale site specific installations. In a sense these pieces took the objects that I had been collecting through my work, and expanded them, allowing them to become monuments, landscapes, or museum collections.
Typically these pieces are completed by a volunteer group of students or community members. After a quick demonstration, the individuals are able to work on the piece, adding and building it as they see fit. I offer a sketch of the form of each piece, but the specifics of it take shape based on the interactions of the group. For me this adds to the narrative of each piece, as those involved in the process of building the piece become part of the story being told. In a sense we all become sculptors of monuments, curators of museums, and post-post apocoylptic survivors attempting to reclaim what was lost.
Each installation is empheral and is destroyed during the deinstallation process. In 2013 I began using this as an opportunity to host recycled paper making workshops at the conclusions of these exhibitions, inviting the community into the space to repurpose the residue of the installation into new sheets of paper. The recycled paper is often donated to the gallery or space for use in their programming. Again, this interaction bookends the process, offering yet another layer to the story of each piece.
Typically these pieces are completed by a volunteer group of students or community members. After a quick demonstration, the individuals are able to work on the piece, adding and building it as they see fit. I offer a sketch of the form of each piece, but the specifics of it take shape based on the interactions of the group. For me this adds to the narrative of each piece, as those involved in the process of building the piece become part of the story being told. In a sense we all become sculptors of monuments, curators of museums, and post-post apocoylptic survivors attempting to reclaim what was lost.
Each installation is empheral and is destroyed during the deinstallation process. In 2013 I began using this as an opportunity to host recycled paper making workshops at the conclusions of these exhibitions, inviting the community into the space to repurpose the residue of the installation into new sheets of paper. The recycled paper is often donated to the gallery or space for use in their programming. Again, this interaction bookends the process, offering yet another layer to the story of each piece.
"Vigil"
2012, Studio 23, Richmond VA.
Cut screen-prints wheat pasted on wall. 204"x144"
This is the first wheat pasted installation, completed in 2012 on site at Studio 23 as part of the exhibition "Winners and Losers" with the assistance of Sarah Watson Moore. Related to an earlier piece "Standard Disaster" from 2010, "Vigil" sees the group of cones as stand ins for a community unsure how to proceed in the face of tragedy.
2012, Studio 23, Richmond VA.
Cut screen-prints wheat pasted on wall. 204"x144"
This is the first wheat pasted installation, completed in 2012 on site at Studio 23 as part of the exhibition "Winners and Losers" with the assistance of Sarah Watson Moore. Related to an earlier piece "Standard Disaster" from 2010, "Vigil" sees the group of cones as stand ins for a community unsure how to proceed in the face of tragedy.