“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

STATEMENT

   

   My sculptures enable me to interpret my perception of the influence of humanity on the enviroment, and disparities regarding wealth in society. I work with a variety of materials such as wood, aluminum, and steel; but mainly I use concrete. 

    Concrete can suggest architecture, nature, the figurative, and the abstract. Concrete displays a variety of characteristics in its various states. It is liquid, then solid. It is week, then strong. It ebbs, it flows, it melds, it fluctuates, until it does not. The molds I create to contain the concrete, may be pliable or solid; but they always influence the concrete that inhabits them. I derive inpiration directly from the peculiar qualities inherant in each concrete pour. After the concrete has cured, and I have removed the mold, the liberated concrete portrays a porous rawness one might find in nature. I percieve this as a metaphor for the raw crudeness and gruff coarseness of the footprint humankind stomps on society. I strive to bridge asperity and form, and to encourage the resulting piece to retain a subliminal reference to design or architecture, but also to the human form, and nature.

 

 

 

 

 

 

 

 

 

 

Education:

 

          B.A. University of California Santa Cruz, 1988

          Post Baccalaureate Visual Arts, U.C. Berkeley Extension, 2016

          M.F.A., S.F.A.I., candidate

 

 

 

Exhibits:

            -Group Show, Alive In Strange Lands, Diego Rivera Gallery, 2018

            -Group Show, Reflections, Swell Gallery, SFAI, 2018

            -Group Show, Shadows, Swell Gallery, SFAI, 2018

            -Group Show, Frida’s Moustache, Diego Rivera Gallery SFAI, 2017

           – Group Show, Drawn To Line, UCBX Gallery, (San Francisco) 2016

           – Group Show, (3×3), UCBX  Gallery, (San Francisco) 2015

            -Group Show, Dis/Order Juried Annual Pro Arts, (Oakland)2013    

            -Group Show, Crowne Plaza Hotel,2012

            – Group Show, Signs of Our Times, Gallery 651, 2012

            -Group Show, Crowne Plaza Hotel (Concorde) 2011

            – Group Show, Gallery 651 (Martinez) 2011

            -Group Show, Richmond Art Center (Richmond) 2011

             -Group Show,The Budget Gallery (San Francisco) 2004

             -Group Show, Anti Gallery (San Francisco) 2003-2009  

             -Miscellaneous non-compliant, cast concrete installations in                                   California, New York, New Jersey, Houston, Portland, Seattle,
D.C., Paris, and Berlin + 2001-present