work
lang[uage]
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.
The structure of the space between cells is imposed onto a system of bobbin lace. The disturbance of the cellular structure creates a morpheme (lang) of the word ‘language.’ The word continues onto the wall as a perspective drawing.
lang[uage]
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.
2009
wood table, bobbin lace, plaster, paint, acrylic, sculpt-a-mold, graphite
42 x 70 x 48 in.
The structure of the space between cells is imposed onto a system of bobbin lace. The disturbance of the cellular structure creates a morpheme (lang) of the word ‘language.’ The word continues onto the wall as a perspective drawing.
me please me
2008
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in.
2008
plaster, sculpt-a-mold, hand dyed fabric, paint, wood, cord
48 x 70 x 120 in.
Eight forms in hand painted plaid parochial school skirts with long curling tendrils underneath spell out the phrase "m-e p-l-e-a-s-e" or "p-l-e-a-s-e m-e." Each orifice is stuffed with and pushes back out a letter form. The composition draws on the energy of Rubens’ painting "The Fall of the Damned."
tongue (after Rubens)
2004
Foam, wood
89 x 108 x 144 in.
2004
Foam, wood
89 x 108 x 144 in.
Forms spell t-o-n-g-u-e. The letters in tongue embody the fleshy volume of the figures represented in Peter Paul Rubens’ paintings, and the composition is specifically from the "Rape of the Daughters of Luecippus." . . . . . . . . . . .
Glendale Art Gallery: Installation view. John Pearson's sunsets in background
Photo by: Suzanne Adelman
Glendale Art Gallery: Installation view. John Pearson's sunsets in background
Photo by: Suzanne Adelman
uh
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.
Created for the “On the Wall” show where artists were asked to use one of the art center’s rolling walls. "uh" is guttural, an utterance and like the wall of the art center's architecture is a disembodied fragment floating with the ability to adapt.
uh (side view)
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.
2006
Gallery's rolling wall, wood, latex paint
96 x 80 x 24 in.
Created for the “On the Wall” show where artists were asked to use one of the art center’s rolling walls. "uh" is guttural, an utterance and like the wall of the art center's architecture is a disembodied fragment floating with the ability to adapt.
ABSOLUTELY (front view)
2008
paint
276 x 48 in
2008
paint
276 x 48 in
ABSOLUTELY is painted in anamorphic perspective. In the 1600s monks used anamorphosis to give the illusion that the once corporeal saints were among us again. ABSOLUTELY is 23 feet long and when viewed from the side appears to float in the room in front of the viewer. The pervasive use of certain words or phrases, such as absolutely, if you will, frankly in our media and business speak has emptied them of their original meaning and they currently serve as a pause or transition. Regardless, these random phrases collectively create a climate indicative of our current thought system. The phrase absolutely seems indicative of our culture’s embrace of polarized thinking.