BENJO17mfg

                                                                  

BENJO17 mfg is a company  created to bid on major public works projects.  Benjo almost always gets the contract, because BENJO always presents the lowest bid. BENJO’s ability to cut corners is nonpareil.

  • BENJO derives benefits from natural resources for marketability.
  • BENJO appropriates icons from many cultures and brings them to market.
  • BENJO’s exploits benefit from downturns AND upticks in the economy
  • BENJO repairs what Mother Nature broke.

Anchor Mend is a company created to winnow the defective qualities of disappointing fabrication.  Anchor Mend’s mission statement: economics, not necessarily choice or taste, must dictate the aesthetic.

  • Anchor Mend shores up BENJO’s catastrophic failures in a way that is cost-effective and decorative.
    • For example: if the budget does not allow for landscaping, Anchor Mend will utilize some of BENJO’s alluring petroleum-based substitutes to adorn the mending.
    • If the budget does not allow for resurfacing, Anchor Mend supplies elegant color choices to enhance the extant surface

 

 

In this work,  inspiration is taken from the substandard workmanship in our society. Using it as a metaphor to contemplate the notion and ramifications of a disposable society.  As a general contractor in the City, I am often called in to repair projects botched by the company with the lowest bid.  Invariably, had a higher bid been accepted, with its accompanying expertise, the client would have saved countless economic, human, and natural resources.  Economies are both increased and reduced. I use this disposable society model to explore the ways in which our heritage, environment, economy, and the cultures of our planet are exploited in the modern era.

“Lingua ” 2016

The evolution of language is constant. How we communicate is influenced by one’s personal history, one’s origins/locations, economic class, gender, values/beliefs, and technology.

Technology is massively represented by computers in general, and the smart phone in particular. Technology applies science for practical purposes. How scientific knowledge lends itself to language is not only its terminology, that might become popular, but also in the ways people navigate the Brave New World armed with new technology and the language it ushers in.

MGB and concrete and WTF are both acronyms created as a result of people communicating through that creation of technology: social media. The language not only evolves by being used in this context, but also by identifying “God” as an initial, and “fuck” as an initial; and it has become socially acceptable to do this.

To counteract the simplicity of idiomatic phrases that change the affect of “God” and “fuck,” “LINGUA” creates coded sculptural elements that attempt to bring back the formality, difficulty, and colorfulness in understanding what and how we say things to each other. There is also an element of irony that confronts our use of phrases that technology and familiarity bring to language. It speeds up communicating so that we can say more? Like other ways that our lives are made more efficient,  we have more time for other things like relaxation, hobbies, etc., except we do not. Our efficiency allows us to work more.

The sculptural elements occupy the coded home of BRICK. The Greek word for brick is “Plinthos.” Therefore, this piece encourages one to contemplate the simplified expression, “It’s all Greek to me.”

Lingua Frankenstein Chart

LINGUA LEGEND, Alaskan Yellow Cedar, enamel, latex, 2016

 

l1
Lingua Color Chips, AYC, enamel, latex, plumbers chain, 2016

MGB+concrete, (May God Bless), cast concrete, enamel, 2016

mgbmgb2

mgb4mgb4

MGB+concrete, cast concrete, enamel paint, 2016

WTF ,  2016

w

W, plywood, stain, clear wood finish, 2016

t

T, plywood, latex, enamel, 2016

f

F,  plywood, enamel, 2016

WTF, plywood, enamel, latex, 2016

wtf3

W, plywood, enamel, latex, 2016

wtf2

T, plywood, enamel, latex, 2016

wtf5

F, plywood, enamel, latex, 2016

BRICK (PLINTHOS), plywood, enamel, 2016

brick3brick2

brick1brick4

 

linguafin

JCM, FIN, UCBX, GRAZIE, enamel, latex, plywood, 2016

 

 

C.C.C.C. (cast concrete coffee cup)

 

aegcup (2)

AEG Turbine Factory, Berlin, 2008

Coffee is an everyday commodity presented in the iconic, mass produced disposable cup. It is a frail item folks commonly see littered throughout our society.

However, when I reconstruct it by casting it from concrete, the cup becomes a solid, three dimensional piece that references sculpture. It lends some similarity to a ready-made; however, it is not a mechanical reproduction. Craftsmanship has been inflicted upon it, and it is now an artisanal reproduction.

It is still mimetic, possessing a reference or a debt to imitation; but it is no longer mass produced but a boutique ready-made if you will. It is a contradiction by being unique individually, yet still being demoted as not unique among other coffee cups. It can be formally contained, displayed, and documented by installing it on a shelf in a room in San Francisco, or by taking a photograph of it in front of an historical building in Berlin.

cup1

Strathmere, New Jersey, 2016

cup2

New Windsor, New York, 2016

01.10.071712

San Francisco, CA, 2007

Parisfair

Paris Toilet 2015 (thanks GS)

Versailles

Versailles 2015 (thanks GS)

 

Word

REUSA

Re: U.S.A., tempered duron, enamel 2015

re-detroit

Re Detroit,  tempered duron, enamel, 2015

wreck

wood, paint, poetry,polystyrene, enamel, etc.

some

SOME, concrete

werd

 

 

Gone, 2015

9_gone

 

GONE, polystyrene, enamel, 2015

 

GONE relies on the initial subtlety of the material’s repetitive construction,  polystyrene. Through assemblage that continues a rough repetition of pattern with the addition of finishes applied, again referencing pattern, the final piece is arrived at. The piece is smooth in finish;  however, coarse in representation of a fish.

Through the use of polystyrene, or Styrofoam, a trademarked Dow Chemical product, as the main building block of the fish, I am commenting on the relationship of chemicals to our environment in general, and the ocean in particular. I further explore humankind’s negative impact on the ocean buy using a camouflage used by military ships at the start of the 20th century. Currently, the U.S. Navy is under  scrutiny for it’s use of sonar and it’s affect on aquatic life. To further extrapolate on the use of a camouflage, in this case a “disruptive coloration”, paint scheme, is to literally see nature disappearing.

 

economicmalfiance

ECONOMIC MALFEASANCE, plywood, collage, enamel, 2016