The Mobility of Place
6’ x 30’ x 2’
The Mobility of Place is an installation investigating the impermanence of environment in our daily lives.
Blue Diagram, 2009
Oil on canvas
90.75 x 84.75 inches
230.5 x 215.3 cm
Edited Versions - Part IV
"God is Number" + "Possibilities of Seven" by Andrew Schmidt
Caught Between Stations
An evolving solo exhibition is now open at the Museum of New Art (MONA) in Troy, Michigan. The show expands beyond the object to include an examination of the space the objects inhabit. Over the course of the four-week exhibition the work will change, evolve and ultimately consume the space.
Transcending their actuality, the objects and space are transformed to strive towards their potentiality. Along this path, gain and loss happen simultaneously. Entropy becomes the force which both pulls and pushes the space and objects to their nascency.
The exhibition runs from June 29th through August 3rd.
Feest der Vernietiging
Styling: Kieu Vuong
Model: Gianni Madimin, Simga Joy Ckili
As promised, here are some better quality images and details of my thesis work that is currently installed in the Cranbrook Art Museum.
Change is Contingency is Anxiety
materials: full set of living room furniture
13’ x 8’ x 5’
Through the deconstruction and subsequent reassembling of common objects I draw on a unique but shared experience with the objects as well as the materials and the empathic quotient tied to them. The objects are acquired through second hand stores, Craigslist, and salvage yards. I utilize the transition of ownership as the catalyst to exploit change as the physical manifestation of anxiety. The use of ordinary objects stems from the beauty I find in the mundane but also the inherent trust that we place in objects. This trust is undone and redefined, and the mundane is replaced with the bizarre and absurd. By visually staking-out the familiar, alien, comfortable and awkward I create a framework for the audience to experience the liminal space where change occurs. The audience engages and inhabits the work from this cusp. Within this figurative space the work calls on the viewer to employ memory and language to define its relationship to the body as well as the external world. Functioning in the language of semiotics the original object is not only intervened upon, the final work is an intervention in and of itself.