corrugated paper brick : impression of interior structure and filled
porcelain; paperboard, hydrocal, milk | 2018
corrugated paper brick : impression of interior structure and filled
porcelain; paperboard, hydrocal, milk | 2018
corrugated paper brick : impression of interior structure and filled
porcelain; paperboard, hydrocal, milk | 2018
one-inch bubble, verso
porcelain | 2018
one-inch bubble, verso
porcelain | 2018
one-inch bubble, verso
porcelain | 2018
corrugated paperboard : impression of interior structure and filled
porcelain; paperboard, hydrocal, milk | 2018
corrugated paperboard : impression of interior structure and filled
porcelain; paperboard, hydrocal, milk | 2018
honeycomb board : impression of exterior, impression of interior structure, and voids
porcelain, hydrocal, glass | 2018
honeycomb board : impression of exterior
porcelain | 2018
honeycomb board : impression of interior structure
porcelain | 2018
honeycomb board : impression of interior structure
porcelain | 2018
honeycomb board : voids
hydrocal, glass | 2018
honeycomb board : voids
hydrocal | 2018
honeycomb board : voids
glass | 2018
air pillow packaging, one-inch round : verso, voids, recto
porcelain, glass | 2018
air pillow packaging, one-inch round : verso, voids, recto
porcelain, glass | 2018
air pillow packaging, one-inch round : voids
glass | 2018
air pillow packaging, one-inch round : voids
glass | 2018
air pillow packaging, serpentine : recto, voids, verso
porcelain, glass | 2018
air pillow packaging, serpentine : recto, voids, verso
porcelain, glass | 2018
air pillow packaging, serpentine : verso
porcelain | 2018
air pillow packaging, serpentine : voids
glass | 2018
air pillow packaging, round : two-inch, recto; one-and-a-half-inch, voids; two-inch, verso
porcelain, glass | 2018
air pillow packaging, round : two-inch, recto; one-and-a-half-inch, voids; two-inch, verso
porcelain, glass | 2018
air pillow packaging, round : one-and-a-half-inch, voids
glass | 2018
air pillow packaging, hexagonal : recto, voids, verso
porcelain, glass | 2018
air pillow packaging, hexagonal : recto
porcelain | 2018
air pillow packaging, hexagonal : verso
porcelain | 2018
air pillow packaging, hexagonal : voids
porcelain, glass | 2018
air pillow packaging, square : one-and-a-half-inch, from impromptu mold; two-inch, voids; two-inch, recto, shard
porcelain, glass | 2018
air pillow packaging, square : one-and-a-half-inch, from impromptu mold; two-inch, voids; two-inch, recto, shard
porcelain, glass | 2018
air pillow packaging, square : two-inch, voids
glass | 2018
indication of one-inch bubble
porcelain | 2018
quarter-inch bubble, impression
porcelain | 2018
corrugated cardboard, verso
porcelain | 2018
shard : indication of two-inch square air pillow packaging, lit and unlit
porcelain | 2018
one-inch bubble, verso ii
porcelain | 2018
milk teeth, installation view
2018
milk teeth : wall one (in three sections on three walls)
hydrocal, milk | 2018
milk teeth : wall one (sections two and three)
hydrocal, milk | 2018
milk teeth : wall two
hydrocal, milk | 2018
milk teeth : wall two, window, wall three
hydrocal, milk, glass | 2018
milk teeth : window
glass | 2018
milk teeth : window
glass | 2018
milk teeth : window
glass | 2018
milk teeth : wall three
glass | 2018
Foam peanuts, also known as packing peanuts or packing noodles, are a common loose-fill packaging and cushioning material used to prevent damage to fragile objects.
Bubble wrap is a pliable transparent plastic material commonly used for packing/mailing fragile items. Regularly spaced, protruding air-filled hemispheres (bubbles) provide cushioning for precious or breakable items.
Mail or chain mail is a type of armor consisting of small metal rings linked together in a pattern to form a mesh. A hauberk is a shirt of mail armor.
N 85°45'05W | expanded polystyrene beads sewn with nylon thread | 6 inch cube | 2013
N 85°45'05W | alternate view
N 85°45'05W | detail
N 85°45'05W | detail
Borgian map of 1450 twice with blueprint of my house
cyanotype on Arches | 11.25 x 7 inches |
edition of five | 2008
Bubble wrap with Tabula Rogeriana (1154)
cyanotype on Arches on
cyanotype on wallboard | 11.5 x 11 inches | 2008
William Morris Snakeshead with Zheng He map
cyanotype on Arches on
cyanotype on wallboard | 6 x 7.875 inches | 2008
soft world
cyanotype on Arches | 3.75 x 3.125 inches | edition of five | 2008
Ptolemaic map(1503)
cyanotype on Arches | 4.125 x 3.125 inches | 2008
Da ming hun yi tian xia quan tu (ca 1800) with chalk line
cyanotype on
Arches | 10.25 x 6 inches | 2008
Fra Mauro mappa mundi 1457-1459
cyanotype on Arches 4 x 4.375 inches | edition of five | 2008
Charta Cosmographica, Cum Ventorum Propria Natura et Operatione(1574)
cyanotype on Arches | 4.75 x 3.825 inches | 2008
plan
cyanotype on Arches | 11.125 x 9.375 inches | edition of five | 2008
Orontius Finaeus map (1531)
cyanotype on Arches | 4 x 3.375 inches | 2008
the me and the not me
cyanotype on Arches | 5.5 x 3.5 inches | edition of five | 2008
Honil Gangni Yeokdae Gukdo Jido (1402) with blueprint of my house
cyanotype on
Arches | 6.25 x 7 inches | edition of five | 2008
Hereford mappa mundi (ca. 1300)
cyanotype on Arches 2.875 x 3.375 inches | 2008
hard/soft worlds
cyanotype on Arches | 19.5 x 7.75 inches | edition of five | 2008
if the world were my house
cyanotype on Arches | 13.5 x 14 inches | edition of five | 2008
if my house were the world
cyanotype on Arches | 13.75 x 15.25 inches | edition of five | 2008
look outside (Waldseemuller world map, 1507) | cyanotype on rotating drum, LED, crank and mechanism, peephole, wood | 9.5 x 9.5 x 2.5 inches | 2008
detail of look outside (Waldseemuller world map, 1507)
The Suburban Garden
by Adam Day
Beside the trim phlox and lamb’s ear -
where the sprinklers are on timer -
living bodies are buried
in the suburban garden. They are anchored
by engine blocks - the thick-fingered clowns.
Their dull heads swim
above the soil like moist bulbs
pulled into sunlight, veins bulging like guy wires
and their empire eyes have the overly intent
gaze of an evangelical. I have taken
their teeth. Their restless cocks
burrow below like root vegetables. Take this one
with the bit of spit at the corner
of his mouth; the scalp struggling grass
under gravel; the nose a flesh field
of sinkholes. When they see me coming
it’s as if they were sailors who, looking
overboard, saw in the waves, tigers’ mouths
gaping, rather than the vaginal blue wash
of the sea. I empathize with them; have myself
tied to the back porch, ears plugged, drenched
by endless buckets of salt water
while we’re teased with the naked ribcage
of a neighbor’s daughter. They are like the beetle
who one day woke to the horror
of a human body. And like the dead
they come to look like nobody, like a man
hiding his genitals between his legs.
root cellar
root vegetables cast in foam, gardening implements, fencing and fencing hardware, rope, chain, bug lightbulbs | installation view | 2007
beets/tree support strap
beets/tree support strap
ginger root/barrier spikes, turnip/spade
turnip/spade
horseradish/fence ties
beet/baling hook, sweet potato/tree stake kit, horseradish/hand cultivator
beet/baling hook
sweet potato/tree stake kit
horseradish/hand cultivator
sweet potatoes/fence clamp
ginger/barbed wire
horseradish/hardware cloth/tension band/fence ties
turnips/fencing/fence tie
turnip and horseradish/tension bands
turnip and horseradish/tension bands | alternate view
sweet potatoes and turnip/poultry netting
root vegetables/mole trap
root vegetables/mole trap
alternate view
I use industrial materials that hold - packaging, insulation, and upholstery - to address ideas of the body in space, the space of the body, and the space between bodies. I retain the original integrity of the materials to maintain their known associations, reframing them in form, arrangement, and scale. I work in series, using repetition and difference to focus on the materials’ inherent content manipulated in ways that refer to the body.
left to right - blanket (fiberglass insulation, construction lumber); gap filler (spray insulation, construction lumber), bustle (upholstery foam, upholstery springs), padding (dacron, edge roll, buttons, upholstery springs), packaging (polyethylene packing foam, cardboard box), void fill (fiberglass spray shipping foam, cardboard box, stretch wrap)
72 inches tall | 2007
left to right : packaging, blanket, bustle, gap filler
packaging, bustle, gap filler
foreground : padding
foreground : void fill
packaging
fenestrae
expanded polystyrene slices, nylon thread, light | 2007
fenestrae
detail
telangiectasia i-iv
polyethylene expansion strip, thread | each 3 x 16 inches
muse | void fill, thread | 1 x 1 inch | 2007
telangiectasia iv
detail
cradle i
altered Newton's Cradle, void fill, thread | 4.25 x 5.25 x 4.25 inches | 2007
cradle iv
detail
cradle vi
detail
cradle iii
detail
HOLD
Van de Graaf generator, electricity, polyethylene packaging foam,
needles, oil-based clay | 2007
HOLD uses a Van de Graaff generator to charge the foam strips, which are then electrically attracted to the body of the viewer
fetish i
giclée print | 5 x 5 inches | edition of five | 2007
fetish ii
giclée print | 5 x 5 inches | edition of five | 2007
fetish iii
giclée print | 5 x 5 inches | edition of five | 2007
fetish iv
giclée print | 5 x 5 inches | edition of five | 2007
fetish v
giclée print | 5 x 5 inches | edition of five| 2007
fetish vi
giclée print | 5 x 5 inches | edition of five | 2007
fetish vii
giclée print | 5 x 5 inches | edition of five | 2007
fetish viii
giclée print | 5 x 5 inches | edition of five | 2007
fetish ix
giclée print | 5 x 5 inches | edition of five | 2007
fetish x
giclée print | 5 x 5 inches | edition of five | 2007
fetish xi
giclée print | 5 x 5 inches | edition of five | 2007
fetish xii
giclée print | 5 x 5 inches | edition of five | 2007
03.06.05
installation view | 2005
22.03.97
porcelain, cast iron, light | 3.25 inches tall x 4.75 inches wide | 2005
14.03.04
rubber, porcelain, light | 4.75 inches tall x 4.5 inches wide x 3.5 inches deep | 2005
01.10.97
stainless steel, rubber, light | 3.25 inches tall x 4.75 inches wide | 2005
01.10.02
foam, stainless steel, light | 3.25 inches tall x 4.75 inches wide | 2005
01.10.03
carbon steel, foam, light | 4 inches tall x 4.75 inches wide | 2005
When God had made The Man,
he made him out of stuff that sung all the time and glittered all over.
Then after that some angels got jealous
and chopped him into millions of pieces,
but he still glittered and hummed.
So they beat him down to nothing but sparks.
but each little spark had a shine and a song.
So they covered each one over with mud.
And the lonesomeness in the sparks
made them hunt for one another,
but the mud is deaf and dumb.
- Their Eyes Were Watching God
Zora Neale Hurston
04.07.01
cotton, cast iron, light | 3.25 inches tall x 4.75 inches wide | 2005
25.09.95
wool felt, cotton, light | 3 inches tall x 2.75 inches wide | 2005
20.03.00
silk, wool felt, light | 3.25 inches tall x 4.75 inches wide | 2005
15.01.90
cast iron, cast glass, light | 3.25 inches high x 4.75 inches wide | 2005
06.02.02
cast glass, silk, light | 3.25 inches tall x 4.75 inches wide | 2005
18.03.01
beeswax, cast iron, light | 3.25 inches tall x 4.75 inches wide | 2005
07.08.97
cast iron, beeswax, light | 3.25 inches tall x 4.75 inches wide | 2005
15.08.96
rubber, lard, light | 3 inches tall x 4.5 inches wide | 2005
13.10.01
lard, rubber, light | dimensions variable | 2005
MFA Thesis Exhibition | Installation view | 1997
MFA Thesis Exhibition | alternate view
Surfeit Seraph
ceramic | 96 x 48 x 40 inches | 1997
Becoming
unfired clay | dimensions variable | 1997
This work primarily references classical fine art iconography, including the Three Graces and the Odalisque or reclining nude, as framing devices in the representation of bodies out of control. I emphasize the objectification of the female form by presenting it in a socially unacceptable grotesque manner in the context of a format in which it has traditionally been idealized.
The unfired pieces are abstracted forms overwhelmed by chaotic excess, but still related to the body in terms of scale. I focus not on the finished object, but on the properties of the clay and the processes of creation and destruction. All the pieces are hollow, consisting of only a thin wall of clay, and while the inner space they define is not available to the viewer in most cases, it is a crucial element in creating the assumed presence of the body within. It is on the margin or buffer between the biological body and the outside world that my work focuses.
Slough
unfired clay, water | dimensions variable | 1997
The Three Graces
ceramic | 50 inches tall | 1996
Grace
ceramic | 50 inches tall | 1996
Grace
rear view
Loveliness
ceramic | 50 inches tall | 1996
Loveliness
rear view
Charm
ceramic | 50 inches tall | 1996
Charm | rear view