In my new work Pods, I examine aspects of my painting and assemblage sculpture processes to bring them closer together. I experiment with deconstructing my painting practice to reapproach it as an installation. To do this, I am assembling, deconstructing, connecting, and repairing to create a new installation form and a novel path for my artistic process.
To be more specific, I spatially pulled apart the stretcher frame that gives the painting its format - in depth, width, and height - and used it as a grid within which I could build an installation and from which I could have it break out.
I took up some of the central aspects of painting, such as form, color, gesture, and composition, and developed three-dimensional correspondences: Lines and gestures became fragments of metal pipes and rails, rubber hoses, and ropes; I translated patterns using acrylic sheets, stones, magnets, sheet metal, and other building materials; shapes and gestures became poured concrete forms and plants. These components stretch in and out of the frameworks—they hang, lean, balance, jam, pile, or snap into their assigned places.