2022
Terza Natura, 2022
A trough of sorts made of a heavy gauge aluminum sheet is filled with beeswax and beeswax casts of shells, rocks, peach pits, and tentacular forms originally sculpted in bread. Erupting from the pool are wax dipped leaves, stems, and seed heads of echinacea purpurea grown from seed and harvested from the artist’s garden.
Tantric Egg Salad, 2022
Tied using knots most commonly used with horses and livestock, a beeswax dipped bag of tulip bulbs hangs from a wood sawhorse coated and altered with a mixture of paper pulp and cement pigment. Beneath the structure lies a formed aluminum trough filled with beeswax and seemingly floating are beeswax casts of shells and peach pits. Franco 'Bifo' Berardi’s Tantric Egg describes an embodied potentiality, one that might well be replaced by the tulip bulb. The huddle of tulip bulbs, historically important enough for currencies and vast economic markets to be tied to them, rely on the hold of knots designed to release a horse with a little tug.
How to convert your mower into a generator, 2022
Pillow cased in mylar emergency blanket with an arrangement of small bread tentacular and baroque forms intermixed with sprouting potatoes. Drawing from votive arrangements and online representations of prepper bug-out and bug-in supplies, the forms rest and change (or don’t) over time. Insulation, preservation, and liveliness(that is the potential to change or to re-enchant) of the materials are of primary importance. Re-enchantment, as Silvia Federici positions it, represents the worlding activities to mend the metabolic rift between humans and nature, to reproduce and nourish the metabolism that transforms nature to culture and back again.
Soul House (The Field Where I Died), 2022
Long underwear set from the 1960s purchased roadside and treated with beeswax. Forms arranged on top are wax casts of molds made from a series of small bread sculptures in various tentacular and baroque forms from single strands of dough. Dried echinacea purpurea grown from seed is coated in wax.
Stones Instead of Bread, 2022
Broken garden hose head coated and preserved in beeswax, resin steel casts of hide-a-key and natural rocks, metal vessels, rainwater collected in my garden and treated with medical waste solidifier.
Hide-a-key, 2022
Accompanying two plastic hide-a-key rocks and two replicas rendered in marzipan colored with powdered food-safe pigments is a found lawn ornament coated and altered with modeling compound, considering what Umberto Eco describes as a “crèche-ification of the bourgeois universe” and the function of the garden as a diorama or miniature of broader concerns about potential penetrability and loss.
