Gallery Hours Opening Reception: Friday, January 10th from 5-7pm
Artist Talk: Saturday, February 1st at 1pm
Gallery Hours from 12-2pm:
Saturday, 1/11
Thursday, 1/16
Saturday, 1/18
Thursday, 1/23
Saturday, 1/25
Thursday, 1/30
Saturday, 2/1
Gallery Hours Opening Reception: Friday, January 10th from 5-7pm
Artist Talk: Saturday, February 1st at 1pm
Gallery Hours from 12-2pm:
Saturday, 1/11
Thursday, 1/16
Saturday, 1/18
Thursday, 1/23
Saturday, 1/25
Thursday, 1/30
Saturday, 2/1
I built Transient Room in one of the cells at Eastern State Penitentiary Historic Site in Philadelphia as part of their Artist Installation Program. This site-specific piece will open to the public beginning May 7, 2021.
Trace re-planted is finally in bloom—-May 8—-who knew a daffodil could bloom so late.
After a long winter, the bulbs on Sculpture Space grounds are finally poking up. In 2012 as part of my project Trace, 3,000 narcissus bulbs were planted on the sites of 5 former homes that used to inhabit Whitesboro Street in Utica, New York. For the first few years, the narcissus bloomed. However they were subsequently damaged by a an unseasonable spring cold snap. The foliage still marks the house sites, but not the flowers. In the fall of 2018, I replanted—with the assistance of JCA of Utica, 4 of the 5 tracings. The new tracings overlap with the old ones. Translucent Home (2008) sits in the background.
The flowers are also emerging on the slope of Translucent Home.
In 2017, I expanded the planting project into the neighborhood as part of Utica Tracings.
Over the winter parts of the original foundation for Translucent Home deteriorated. JCA of Utica is repairing the stone foundation.
After a long cold winter and a delayed spring, the narcissus planted as part of Utica Tracings finally bloomed. Sculpture Space held a reception for the project on May 3. Utica Tracings is part of a long-term series of site-specific projects, 914 Whitesboro Street that I have been creating in Utica, New York, home of Sculpture Space, an international artist residency program. My first site-work in Utica was Insert which I created as an artist-in-residence at Sculpture Space in 1998, followed by Solitary View (2001), Translucent Home (2008) and Trace(2013). Utica Tracings marks my twenty-year engagement with this neighborhood and it's history. This is my first project that moves off of Sculpture Space property and further into the neighborhood.
Preparations are underway for the 2017 planting of 1,000 narcissus bulbs on the former house sites in West Utica, New York. This project is a continuation of my ongoing work Trace that is situated on Sculpture Space grounds.
In March 2017 I proposed my project, Utica Tracings to the Utica Urban Renewal Agency. Utica Tracings is an elaboration on my earlier project Trace a planting of 3,000 narcissus bulbs on the prior house foundations of five demolished homes that once stood on Whitesboro Street. Trace is situated on Sculpture Space grounds. In contrast, Utica Tracings will take place in other parts of this West Utica neighborhood. In March I requested permission from the Utica Urban Renewal agency to plant additional narcissus bulbs on the former house sites that once stood on Columbia Street that are owned by the Utica Urban Renewal Agency. So far, they expressed interest in granting permission and we will be firming things up soon. The Observer Dispatch featured a story on the project, "Area Artist Plants Seeds of History"
I have a few small works that will be included in the exhibition, Queens CorrespondAnce School which will be opening at Academic in Long Island City on September 2. Each artist was asked to submit a work through the mail with the understanding that another artist would transform it. Each artist also received work to transform and return. Here are the works that I transformed and returned to the gallery.
I am happy to announce that my sculpture, "Domestic Geodes" was included as part of "Animal, Vegetable.....Mineral" at Central Booking in NYC in April. I will also have work included in the exhibition, The Queens CorrespondAnce School at Academic in Long Island City. My work "Translucent Home" was recently included as part of Treacy Ziegler's article in the Broad Street Review,, "Expelling the Beautiful: Has beauty been usurped in contemporary art?" I will be teaching Introduction to Sculpture at Hobart and William Smith Colleges in the fall of 2016.
As an artist I am an idealist. Idealism is integral to making art. In the landscape of one’s mind one is always striving for something beyond the edges of the possible. In making art there is no compromise, for compromise is a form of defeat. But even in this quest for the ideal, there are parameters. In sculpture, for example, there is gravity. If you want to make an object that exists in the physical world, you must consider it. If you don’t, your object will fall down.
Read MoreThese recent pieces are part of my series of iterative works. Constructed of window screen they are intimate in scale and are a distillation and evolution of some of the visual ideas I have been working on. These are quiet works whose formal components interact with each other in slow motion. I am interested in the way subtle shifts from piece to piece create distinct visual tensions. I have always been attracted to ice. I enjoy the way ice stops and solidifies motion. For me, these pieces connect to the nature of ice.and embody my preoccupation with the synthesis between structure and light.
Studio View
Studio sketch
In the summer of 2015 my work was included in an exhibition at the Johnson Museum of Art as part of Locally Sourced. Locally Sourced featured artists based in the Ithaca region who had exhibited outside of Ithaca, but had not exhibited at the Johnson.
I was thrilled to be able to exhibit part of my recent body of experimental studio work. Underlying my work is the idea that much of what we think of as permanent is in a constant state of flux. My drawings, reliefs and small sculptures explore elements that are in a state of breaking, tearing, cracking and shifting.
For more than twenty-five years I have been creating and exhibiting large-scale, site-specific installations. In the process of making these large works I have had to discard certain ideas in favor of others. In 2011 I set out to create a series of at least 100 small pieces in order to explore multiple ideas at the same time. The works exhibited in Locally Sourced are part of this ongoing series and range in date from 2008-2015.
I see proposing work for a site as an opportunity to stretch my ideas. Whether or not the proposals are ultimately accepted, the process of developing an idea is an interesting one. I develop my ideas through drawings and models. This 2015 project idea for an architectural folly exhibition remains on my drawing board.