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You have to keep enough of the organism for it to reform each dawn; and you have to keep small supplies of significance and subjectification, if only to turn them against their own system when the circumstances demand it, when things, persons, even situations, force you to; and you have to keep small rations of subjectivity in sufficient quantity to enable you to respond to the dominant reality.
Gilles Deleuze, A Thousand Plateaus p. 160

Top to Bottom

HE LOVES ME, HE LOVES ME NOT. (icescapes series and detail)
2007. popcycles, light, plastic and wood.
Wall Installation with pop-cycle paintings.

(large image)
LITTLE BITS (icescapes series)
2007. popcycles, light, plastic and wood.
Wall Installation with pop-cycle paintings.

(small center image)
These new “Paintings” use various paint on acrylic surfaces and are part of a series of new works that unlike my installations are highly cathartic, immediate and engaged in stream of consciousness based images.

36,000 Feet ABOVE ICE STORM: VALENTINES DAY 2007
(separation anxiety series).
2007. paint on plastic.

LONG HOT SUMMERS, LONG COLD WINTERS.
2006. bags of kool-aid and light surfaces.
Pulse Biennale. 1708 Gallery, Richmond, VA.

120

Exploring the unintended landcsape-places wrought by the 20th century…

Flood/Margin, Part/Whole, 4 video projections, 20 steel paintings, site earth, blocks, 2005

Geo Logic, videos, site earth, steel map paintings, 2005

Rural Dystopia, video projection, 3 videos on monitors, paintings from projections, 2007

Detail, An Incomplete Project, 2007

An Incomplete Project, Wichita, Ks., inkjet prints on masonite, blue pencil on wall, video, 2007

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Earth Belly

May, 2006;  Cast Portland Cement, pigment, cotton cloth, copper wire, and steel

6″ diameter ea.

Velvet Circles

September 2005;  Cast Portland Cement and velvet

4″ diameter ea. installed on a 60′ long wall

Catalpa Circles

September, 2005;  Cast Portland Cement, bean pods from the Catalpa tree

6″ diameter ea.