Drill Baby Drill
Trees, flowers, rocks, waterfalls, grass, trails, mountains, marshes, and wild animals on Alaskan countryside.
On loan from Free Admission Exhibits (.com), 2011
This vast creation of nearly incomprehensible detail, proportion, and perspective is the only thing standing between us and a perennial black gold mine.
Progress?
Steel, cement, glass, dirt, trees, bushes, flowers, clouds, suns, Gods, grief, debt, death, love, doubt, fear, anger, hate, patience, poverty, wealth, soldiers, parents, and children on 3,600th day since September 11, 2001
On loan from Free Admission Exhibits (.com), 2011
Nearly ten years after the unthinkable became a memory, this elaborate exhibit provides patrons with a macroscopic view of the present, a reflective view of the past, and a myopic view of the future.
In the foreground a new architectural, economic, and prejudicial skyline is being carved to replace the metaphorical grandchildren of the Lusitania and the son and daughter of Pearl Harbor. Meanwhile in the distant background, fate is being carved at the expense of the young and unborn, while emptiness and hope share an awkward adolescent dance in the lives of survivors.
Progress? is not necessarily meant to promote doubt, but instead pose a simultaneously self-reflexive question and challenge.
B.S.
Bronze alloy mold, families, and citizens on city park street corner
On loan from Free Admission Exhibits (.com), 2011
In the wake of our financial slaughter, which was initiated here in this neighborhood, a new embarrassment – our downgraded national credit rating – is on the horizon. Ironically, this anatomically correct exhibit serves as an allegory for our impotence within their system of irresponsibility. Even when we surround en masse to climb all over them, they never flinch, never strain, and never adjust their aggressive stance towards prosperity at any cost, including bullying us with fear.
15 Minute Friends
Tired, huddled, hungry, and bored masses on MTA subway car.
On loan from Free Admission exhibits, 2011
As the platitude goes: “Everyone will be famous for 15 minutes.” This exhibit uses a disparate group of desperately silent riders to prove it. Boys and girls of all ages will dream of making a connection with each other while riding. However, during these fleeting minutes together they will clamor to avoid eye contact in a repetitious demonstration of futile curiosity.
Roof Juice
Drippy gutter filth on steel subway pole.
On loan from Free Admission Exhibits (.com), 2011
The cream always rises to the top, and hope floats. But this rusty installation of toxic stalactites, foul sewer runoff, and ambiguous puddles of liquid whoknowswhat serves as a reminder that shit gets heavy sometimes.
The End
People, pets, vehicles, babies, and occasional sunlight on weekend streets.
On loan from Free Admission Exhibits (.com), 2011
May 21, 2011, assumed by some to be Judgment Day, assured by others to be Saturday, is depicted here as a cataclysmic scene filled with people milling about, walking their dogs, getting on trains, drinking coffee, buying food, and strolling their babies. Clouds part in varying incremental cycles, reminiscent of yesterday’s nominal meteorological events.
Untitled (Self-Portrait)
Fabric, make up, lotion, lenses, scented spray, gloss, gel, and wax on human skin and hair.
On loan from Free Admission exhibits, 2011
This self-reflective and rare glimpse into the beautiful modern Being simultaneously exposes both a reality and a facade. In this moment we can see not only who we are, who we were, and who we want to become, but who we’re hiding behind.
Date Night
Patron couple in Upper East Side restaurant window.
On loan from Free Admission exhibits, 2011
A thin transparent shield separates the movers from the pepper shakers in this interactive and reactive piece. Occupied pedestrians look in, while hungry, thirsty, drunk, loving, lusting, and bored partners look out.
iParish (Parts 1 - 4)
Brick, glass, steel, and marble on street corners.
On loan from Free Admission exhibits, 2011
This modern cathedral serves as a house of worship for one of the world’s newest and fastest growing faiths. With binary scripture dating back to the late 1970’s and a symbolic totem culled from the Christian book of Genesis, this electronic religion encourages believers to live virtually, thereby immortally.
Believers, non-believers, and curious passerby are invited to enter this, and similarly descript temples, in order to praise small Polytheistic deities, confess their technological ignorances to youthful priests, and make excessive donations in exchange for bright and responsive communicative artifacts.
Some have chosen this faith in order to satisfy and escalate their uniquely modern and ironic taste for loneliness. Others have chosen to believe it will bring them greater wealth, efficiency, creative freedom, and even fame.
For many religions, a sense of community is the greatest result. In this case, an amalgamation of synced products bares the closest resemblance to this achievement.
Losing My Religion
Plastic, metal, and porcelain, on neighborhood cement
On loan from Free Admission exhibits, 2011
By day this ubiquitous modern sculpture serves as a symbol of man’s need for personal space in this heavily populated world. Tucked away in the smallest and most private room of one’s abode, it typically provides respite, peace, and relief. But upon the arrival of the weekend it often becomes a sacred and violently lauded relic.
Worshiped to well after weekend sunsets, and following the consumption of large amounts of potent elixir, this hallowed sculpture, or Porcelain God, becomes home to a painful ceremony. Here an unknown disciple fearlessly and publicly renounces his faith.
