A pile of puppet skulls, reverting back to childhood through the familiar process of making Paper mache heads, attaching toilet paper rolls to balloons and building on. Bulging balloon eyes deflate as if the armature itself is prolapsing exhausted from the pressure. “The Man” in this case can be viewed as a throw back reference to the establishment.
Made up of the disembodied heads of prominent republican politicians, mostly congress. Corn’s ever-present infiltration and the GOP are seen hear as one distasteful crop. Suspended in mat medium, eyeless faces stack on the front side of ¼” clear Plexiglas with eyes back painted on the reverse surface allowing their flattened stares to follow your every movement.
A self explanatory if you watch CSPAN. This jury of Clowns with scornful gazes and drunken demeanor stares at the viewer with condemnation. The round shape of the glass plus the waters amplification allows each Clown to distort, as you get close their stares come to life and follow you, Hillbilly magic!
is made up of a conglomeration of Christian holiday figures represented in plastic. All are painted black and treated like a magnified scratchboard. Each hand has its optimum viewpoint (separate sides); the hands are graphic images that traverse the topography of the forms, distorting as you circumvent the piece. The right hand doesn’t know what the left is doing so to speak, as both make a posthumous plea.
is made of fourteen-gauge wire fence material, suspended in mid air like a puppet. It is a one hundred foot tall anatomically correct human skeleton. Each bone is made separately, both topographic and hollow, a skeletal armature of a skeleton, a drawing in space that is both there and not. It was originally installed lying on it’s back trying to escape the confines of the Springfield Museum of Art and now looms over children in our local center of science and industry.
Representing the overstated doom we faced at the turn of the Century, the giant desaturated eyeball stares blankly at a miniature revolving disco ball, lit by a single spotlight. The constricted pupil and the disparity in proportion between the revolving sphere and the frozen stare mimics the media’s obsession and weird vibe that lead up to us partying like it was 1999.
Optimism took a beating in the first decade of the 21st century. This familiar icon is sinking below the floor with distorted features made of repurposed materials, consuming a corner of the gallery. Affirmation covered buckets riddled with nails become the rotten teeth of the amplified smile that also serves as a barrier. One eye has been poked, while the language of the affirmations desperately reassure.
is made up of forty-two portraits rendered in human hair stuck in the adhesive of packing tape. Layers of tape articulate the Ovals that pay tribute to the tradition of formal and official portraiture. Each Portrait is larger than life; the warmth of the mostly brown and black hair simulates the charm of old fashion engravings. The piece floats in mid air three feet out from the wall allowing for reflected light from the wall to illuminate each face. The piece blends fond feelings for antiquity with a visceral repulsion for hair as an image-maker. The more modern the man the less appropriate his likeness seems to conform to this format, aside from their banality they smile too much.