Statement

We can’t own Time. We can only borrow Space. Experience alone is ours, all we can share. So we document. Start with curiosity. What is beneath, an ethereal channel, or an ephemeral abyss? Invent a process. Peel back time. Peek below at what has come before. Through investigation reveal evidence of time by layers. Organized, rolled upon its self a growing spiral proceeds. A center point of investigation moving forward through time, building upon itself with overlaps on points of repeated cycles, deepening experience along order, essence remains constant, an archaeological trail of detritus remains, a past strewn with deteriorated Heirloom. Experience once lost, now unearthed, contemplated, considered, then re-authored into a more appropriate memory, a History diminished to a more suitable part of a direly inadequate present. An inheritance of artifact with varying degrees of resistance, sentimentally a futile talisman against Entropy. To not forget, not be forgotten.

see though...

In June 2006 I helped move the artist I work for out of his studio, I then worked out a deal with the photographer who would take over the space to use it for a show with six other emerging NY Artists which included

Margarida Coreia
Tina DeRamus
Joseph Giannasio
K. Min
Alison Offill-Klein
Kate Ottersten
Elwyn Palmerton

On July 6th we had a reception for "see through...", in return I refinished the floor. I worked out a similar deal with his roommate and installed "Gordian Knot"

Gordian Knot

The piece I did for "see through..." was confined to a square 16' x 16' in the middle of the floor to allow space for the six other artists to hang their work on the walls. I painted a square to define the contents of the piece. Being contained inside a painted square the piece appeared as a sculpted painting, the rolls after all consist of the many layers of paint that were there on the floor, and neither portrait or landscape in orientation, a square provides the viewer different viewing angles. the paint rolls and trails can be horizontal or vertical.
I was not 100 percent satisfied with the piece in "see through..." ,It happened quite fast and it was done on the fly with very little preparation, and last minute invitations to six other artists, I hadn't worked with the floor and paint rolls for nearly two years so I had forgot some of what I learned, I did quickly learn. Looking at the space after the show, after the other artists had de-installed, I remembered that I had wanted to make sure I utilized the whole floor area, and vowed to do just that, though I was doubtful I would get another chance. That chance came sooner than I had thought."Gordian Knot"

Aesthetic of Time

Aged objects acquire traces of their journey through time. Unpredictable marks and stains are left like finger prints. Through use utility is deteriorated as parts are worn and softened. Decay re-shapes, even when an attempt is made to restore or preserve, as with layers of paint the color and form is altered. Time fades the original object, Time authors a new one, digressing closer to the organic, nearer the original state of the natural materials. In this way all things are fluid

Process and Artifacts

Have you ever arrived at a place, silent, cluttered with objects, marked by some event. In the wake of experience We leave an imprint as we pass through Time. Evidence. A journey recorded, as a piece of glass worn smooth by its migration to shore. Collected, not merely for it's shape, the smoothness, evidence of a transformation being acquiesced. Invoked with a Shamanic grace, possesed as a talisman as to own it, is to have been a part of. Its tale now your own

Invention Structure

We visualize as ideal theoretic, possibly. Eviscerating we find deviation from perfection by compromise, Time not allowed, then criticize. Survey, re-adjust adapt, we plan, tinker, toil for a solution, growing sympathetic, succumb to mortality.

The End of Art

[A dumpster is a reminder of how temporary the usefulness of objects is. In New York especially there is a constant state of change. Dumpsters become the final stop. Companies go out of business, people move, there is no room to store useless objects, so they are removed, space is cleared for new objects the length of which usefulness is uncertain Art being useless might have an inevitable destiny with one unless it is given a reprieve by a collector or someone who appreciates it, if it is fortunate to wind up in a museum it’s fate might be secured, it might have a reprieve for an extended moment of grace.]

Beneath Surfaces

Floors are walked upon, dripped on, painted over. From single boards, to a uniform surface. Layer upon layer of time. Marks made, covered, points in history revealed. Removed and set aside what Robert Smithson refers to as “A Discreet Stage”, now recovered, unraveled, investigated, considered momentarily, contemplated, now ready to be unrolled, the present moment restored.

Hope for Old Objects

I saw what could be of two old metal funnels which belonged to my grandmother, each were at one time the same, but through use they took on separate characters, perhaps due to each having a specific use by my grandmother, my parents were going to throw them out after she died, they saw no value, I saw a second grace. I saw the two funnels on either side of a clear tube they fit snug in, but that the lip of the funnel prevented them from going into, they would be held tightly against the tube connected by a tensioned spring, it could be I felt the tension that draws generations towards each other, that binds the two together, but each are unable to reach a common space sought, not able to enter a chamber of equilibrium, unable to fit in the entrance.

Two objects? Ta Tu

about the interaction of atmosphere with a void, a contracted space, an invisible force causing the rubber to become a hemisphere. The pressures that act against each other, a balance that has been tilted or interaction between invisible forces. What progressed from there was the use of the valve, I flipped the space to an expanded one, and as a vessel used a bottle with holes cut in it, and bubbles would be formed using a condom, but the condom is used as subject it is stripped of context, used only because it was the right part for the job. “Artifacts of Manhattan”, an old medicine bottle from the riverbank, the glass was discolored by time spent in the silt of the river.