April 14 -21,  2021


This is an action work that took place in a house that was built in 1922 in southern Oregon. It would have received a basic single phase electrical service in the 1930s, consisting of two  electrical outlets and a single light bulb and socket.  It was built on  land originally inhabited by Native American Takeelma before the colony, and it operated as an auto camp and Shell gas station until 1934.  

 The work is a physical manifestation consisting of three stages, repeated in a loop.  Charge-Action-Object.  The charge produces an action. This action creates an object that converts electrical charges and returns to the source of the charge in the form of light.  

Forces consideration of the historical intersection between native American and colonizing and western totems of worship as well as questions of domain, ownership, and the public vs private space.  As the work enabled me to physically insulate and separate, it simultaneously represents basic systems, past and present, that have been used in the creation and control of culture and class by those with  the Power. 

Transformation of standard gallery space to challenge discussion of Who has access to view work?


  • Access to spaces depending on class defined by socio-economics                                                 

  • Lower Space appears "void" of work.  Access to the "top spaces" is opaque and suppressed.     


  • Viewers under the sheet are "observed"

  • Uses space, materials and room to change presentation of traditional modalities from a object based (sculptures) to a reflection and self observation                                                                                                                

  •  Air Conditioning ( privileged experience) is above.  Warm and still ambient temperature, basic utilities below

Continuing investigation on human and industrial balance and co existence 

Purposeful manipulation of common tool known as a "tie down" used to secure objects in spaces, typically of automotive nature in transportation.  Shipping containers were used as industrial anchor that was tied to existing trees that are "captured" in an unnatural environment.  The purposed of trees negated and relegated to " human experience" only such as beautification and adornment.  The ongoing balance and compromise of both object and human interaction and their effect on both systems.

Outside of gallery initiated to elicit impromptu responses and interaction.

Relegated by security and hierarchy.


The work was sculpture that used materials specific to the industrial trades.  Steel, construction, railroads, printing. The subject investigated was one of the scale and balance between humans and industrial vs natural environments.

The work was manipulated every day throughout the 6 days to emphasise no permanence and  to encourage the viewer to either remember the previous days installation , or experience it as a wholly new sculpture if not seen previous.  

Addressing memory vs observation of memories, and resulting effect of recalling memories. 

I emptied my studio to create a void in space that retained and echo or memory of the work created in the space.  The holes in the wall to the adjoining space where the contents were placed were both a "portal" to the space where the "work" had moved, but also allowed light to enter into the void that could only be viewed when enclosed in the void.  The charcoal on the floor had remnants of the table that was in the original space, allowing the viewers to experience the work as a tactile object along with the void.  If viewer had no memory of previous inhabitant, they were free to bring their own history into the room for quiet recollection.

Space and light as object.

Industrial objects and the intersection of the natural realm with humans.  Displacement and juxtaposition of human role in control and appropriation of natural systems.

In the spaces viewed outside the gallery, I "removed" physical mass without permission from a wall and the blacktop. The "sculptures" were placed next to their suggested "voids" to show displacement of space and perception of Authenticity, as well as giving "life" to mechanized systems and areas that are considered mundane and automatic. 

I then placed the "plugs" in the gallery to emphasize the displacement of space and mass, and to illustrate how perception changes authenticity.  By bringing the outside in, the mundane industrial materials that we rely on for existence become elevated.   Questions of displacement were attempted to be initiated.  The work was changed and reduced during the 2 weeks of viewing until the collapsed into a homogenized perception of "recycling" and never ending appropriation.



Video that accompanied installation that documented the "taking" actions.

Painting on sculpture dealing with the intersection of mechanics and and physicality.  Process and evolving through connection with Work were are primary investigations.

These paintings dealt with the intersection of mechanics and physicality.  Process and evolving through connection with "Work" were primary concerns.

More paintings dealing with the intersection of mechanics and physicality.  Process and evolving through connection with Work were primary concerns.  

The pieces are developed through the use of motor oils and liquids used in the maintenance of motors.  Canvases were developed by placing under vehicles engines.  

"Performance" that highlights personal relationship with mechanics and work.  What is considered a "sterile" or cleansing action, this personal behavior is imbedded with ceremonial associations and intersections with machine and tools.