Screen Memory  Acrylic paint, pastel, canvas, oilstick, aluminum screen in wood frame, language  30” x 30” x 1”  1992

Threshold  Woman’s jersey, nails, wood  22½” x 24½” x 3¾”  1991/2011

Mind Over Body  Wood, glass shelf  24” x 29” x 12”  1991

Auto-Erotic   Wood, nails, tool-shaft,  steel heat-shield  19” x 10½” x 7 ½”  1990

Un[s]table  Wood/masonite table, cord, staples, acrylic paint, hardware  27¼” x 25¾” x 6”  1992

Reinventing the Mother  Wooden chairs, paper pulp, foam core, pigment  34” x 30½” x 19”  1990

Reinventing the Mother (detail)

Origins of Counting  Ceramic tile, brass hinges  8½” x 166” x 1¼”  1993

“Step On a Crack…”  Ceramic tile, epoxy, steel cable, brass hinges, hardware  69” x 12½” x 1½”  1993

“Step On a Crack…” (detail)

Accompaniment  Marble mantelpieces, marble and ceramic tile, brass hardware, steel cable  60” x 35” x 6”  1995

Poet’s Corner  Marble, granite, granite shelf, steel and brass hardware  24” x 17” x 9”  1995

<

>

Not-Paintings

 

My early constructed and assembled objects exploit the ambiguous boundary between two-dimensional painting and three-dimensional sculpture.   They appear on some level to look like paintings and challenge us to figure out how they are not.  They ironize characteristics indicative of painting, such as rectangular containment, flatness, and color, to test their non-painting status. 

 

The physical characteristics and provenance of these objects affirm their lived existence in real, not illusory space.  They are composed of common household artifacts and are conjoined by repetition or physical linking using standard hardware and fasteners.  The physics of their construction emphasizes compression, gravity, and instability.  Their forms and structures rhyme with the body and elicit a sense of movement, gesture, and meaning. The materials engage actively with their means of support, questioning or dispensing with the conventions of pedestals and frames.