And that box: I gather things (scraps, garbage I have found on the street, in my room, pockets, of a particular appearance—handled, stained, delicate, resilient, beautifully deteriorated), I hoard them, they lose specificity as they sit on a shelf, I remember something about each of them, yet it may only be related to a texture, color, shape, but also availability, accessibility, levels of attraction and repulsion, all intrinsic, necessary questions before I grab it or take it.

These items appear nondescript, indistinct to better fit the purposes of their new home- the paper, the story, instantaneous occurrences culled from disparate places. Before, during, after this transformation, identity is introduced in an object, figure, ground, mark, but disseminated by the formal circumstances of the composition, whispering to the viewer to see the formal significance of the scene, the compositional and conceptual roles of each spatial decision.

I’m no longer looking at a map; there are no names to recall.

Previously, after Berlin, Mexico, and static days, my work reconstituted pieces of my path. Using culled scraps and societal ephemera places emerged, paper corners and cracked-plastic fenced fields covered countertops, slivers of bridges extended to walls, merging with prints, climbing off again as versions, provincial texts and tourist babbling. Trained in mapping, points through functions, marks through screens, projected, fixed and alterable, the printed page became equally flexible, a possible cutup, precisely incised, collaged or mounted in relation to a surrounding context, the printed and drawn elements of a site-specific scene, the wall or table as page. Or fiddling in a program, a drawn selection, the placement of an erasure, reformed, constantly refusing one over the other, tricking the viewer, disguising the mark, denying the material, forcing a look.

Now. A ship between ports—a set, begun as a field, a hand-drawn transparency, a lithograph, a sea of dots and a shore, drawn, etched or otherwise—a point of research and response (container ships, utopian islands, floating palaces and underwater houses, cutwater, seven voyages and prospective yards, the parlors of Macao, those mezzanine balconies of chance). The drawings, prints and the components of the installation act as one piece, swapping information, reinforcing the particulars of a theoretical gambling vessel, but more importantly, the tickets and gems, skimming green through haze, an emerging isle, netting or paper Vegas, temporary economies and shifting spaces, land-locked and reclaimed.

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