Current Work
For the past two years, New York City has been my working place. I began melding ideas from my time spent in Newfoundland, Hawaii and Mexico to create hybrid forms that show themselves in sculpture and video.
The golf ball has become the centerpiece of my current sculptural work. I became interested in its form when I was swimming in Hawaii. I was witness to a sea urchin who used the sunken golf ball as a door to its lavarock cave. It opened up a world of possibilities in my mind. Adaptation, artifacts, parasitic and symbiotic relationships could all be explored through this simple form that has otherwise come to symbolize wealth and power.
Since 2005, I have collected hundreds of them to use in my work. All have been collected from just one site in Hawaii. The effort of free diving was performative in nature and this physicality has become integral to my art making process.
My video method transports me to areas that are considered ‘in-between spaces.’ Drawn to the point of convergence where air and water meet, where oceans combine, and deep-seas mix with shallow. These several inches of water are where chaos is heightened. I explore what is just beyond our terestrial boundaries by focusing my efforts in what occurs in under one meter of water.
Rather than trying to control the chaos, I have developed a filming method that records this disorder to its fullest. I have modified a silent scientific camera to give proof to my experience. Short takes paraphrase hundreds of hours spent observing change. The locations themselves are also ‘in-between spaces’ as I survey the Central Park Lagoon and NYC street puddles with the same curiosity that I offer the Grand Banks or coastal Hawaii.
The golf ball has become the centerpiece of my current sculptural work. I became interested in its form when I was swimming in Hawaii. I was witness to a sea urchin who used the sunken golf ball as a door to its lavarock cave. It opened up a world of possibilities in my mind. Adaptation, artifacts, parasitic and symbiotic relationships could all be explored through this simple form that has otherwise come to symbolize wealth and power.
Since 2005, I have collected hundreds of them to use in my work. All have been collected from just one site in Hawaii. The effort of free diving was performative in nature and this physicality has become integral to my art making process.
My video method transports me to areas that are considered ‘in-between spaces.’ Drawn to the point of convergence where air and water meet, where oceans combine, and deep-seas mix with shallow. These several inches of water are where chaos is heightened. I explore what is just beyond our terestrial boundaries by focusing my efforts in what occurs in under one meter of water.
Rather than trying to control the chaos, I have developed a filming method that records this disorder to its fullest. I have modified a silent scientific camera to give proof to my experience. Short takes paraphrase hundreds of hours spent observing change. The locations themselves are also ‘in-between spaces’ as I survey the Central Park Lagoon and NYC street puddles with the same curiosity that I offer the Grand Banks or coastal Hawaii.
