Introduction

I have decided to document the progress of my thesis project.  This would help me not only in record keeping, but also as a matter of intermittent examination.  And, because many artists are reluctant to talk about process, I thought sharing mine might be useful

for somebody, if not interesting.

Many who know me realize that I am no fan of artist statements and their ilk.  As such, I will keep the pontificating to a minimum.  Aside from today's post, where an intro is somewhat necessary, postings will mostly be images and very little text.

My interest in art has always been the intrinsic value a piece can hold as an object, rather than a vehicle for expression (yes, I understand that these distinctions can be paper-thin).  This, combined with my love of history, has governed the thought processes in the latter half of my graduate school experience - the urge to turn "art" into "artifact."  So for now, this trajectory has culminated in Monument.

A few semesters ago I began combining my drawings with a sculptural component.  Basically glorified frames, these image-slabs were variably successful, and were made of wood, plaster, and styrofoam.  Here is an example:

After finishing a string of these pieces, I wanted something larger, have more of a presence, and to be seen in the round instead of against the wall.  I also liked the notion that my pieces went beyond me - that they weren't just crap I stuck in a gallery.

Using stone circles from England and Brittany as a model, I'm creating a fictional historical site of monolithic stones, and imbedding drawings into them.  The content of the images are loosely narrative - one portrait and several objects.

I'm showing in the Tippetts gallery - not the ideal for a show like this, nut I'm going to isolate the center of the gallery with partitions and black cloth.  I want the observer to enter a separate space - not a gallery, but a historical site.  People will be able to freely roam around the slabs, moving in and out of the circle, uninterrupted by the outside gallery walls or light from the mezzanine windows.

Each slab will be constructed of styrofoam scrounged up from local furniture stores, surfaced and painted up.  I am aiming for 11 with images, plus a few more small rocks to create the environment. 

Amber Quesenberry, a BFA candidate in sculpture, is assisting me throughout this entire process.  The exhibition, March 16-20, seems a lot more attainable with her help.

Stay tuned for more posts