Recent Work 2000 to 2007
Exhibition View-2007 Zabriskie Gallery, NYC Solo Show
Signs of Wear and Collaboration, 2007
81 1/2 x 34 x 15 inches
unbleached raw flax paper, ailanthus wood, wasp paper
Signs of Wear and Collaboration, 2007
Signs of Wear and Collaboration, detail
Vertical Balance, 2004
55 ¾ x 16 x 10 inches
cast handmade papers, wood, concrete, cotton thread
Vertical Balance, detail
Vertical Balance, detail
untitled (rotted and rolled), 2007
43 x 30 x 8 inches
rotted unbleached flax paper, bittersweet vine
untitled (rotted and rolled), detail
Barrier Veil, 2007
14 x 8 7/8 x 4 7/8 inches
flax paper, ink, watercolor, thin cast concrete shelf support
Barrier Veil, detail
Inverted on a stone/Yellow tongue, 2007
80" x 23.5" x 10.5"
ailanthus tree, stone, flax paper, glue
Inverted on a stone/Yellow tongue, side
Inverted on a stone/Yellow tongue, detail
untitled (thing with grey void), 2007
16 x 8 x 5 inches
cast unbleached flax paper and pigmented flax paper, laminated coil paper disc
untitled (subterranean veil), 2004
30 ¾ x 42 3/8 x 1 inches
Abaca paper, bleached flax paper, laminated, pigmented, wood, cast pigmented
flax paper, dyed flax paper, acrylic rod
untitled (subterranean veil), detail
untitled (green oval over copper), 2004
11 ¾ x 4 ¾ x 2 ½ inches
pigmented abaca paper, polyester acetate, copper leaf
untitled (green box viewfinder), 2004
5 ½ x 3 ½ x 1 ½ inches
birch, water putty, pigmented and laminated high shrinkage abaca paper, ink
untitled (green box viewfinder)
Turbulence/Shadow, 2002
28 3/8 x 20 ½ x 4 ¼ inches
Pigmented, manipulated, high shrinkage abaca paper, black
rubber, polyester acetate, copper leaf, brass rod, glass bead
untitled (Leaning), 2004
45 ½ x 26 x 13 ¼ inches
European poplar bark, rotted flax paper, PC 11
untitled (Leaning), detail
untitled (hemisphere with light source), 2004
5 x 15 x 6 3/8 inches
Wood, gourd half, flax paper, abaca paper, carbon paper, copper leaf
untitled (hemisphere with light source), side
untitled (hemisphere with light source), detail
untitled (withered oval with aperture), 2004
10 ½ x 5 ½ x 2 inches
cast unbleached flax paper, rag trace paper, litho print, stainless steel pins, aluminum wire
untitled (withered oval with aperture), translucent side
untitled (wave hull), 2004
6 ¼ x 7 ¾ x 2 ¾ inches
pigmented flax paper and avocado hull
untitled (paper speaking stone), 2004
3 ¾ x 2 3/8 x 1 3/8 inches
flax paper and stone
From the Correspondent, Not Equivalent series:
untitled (land shoe and Leviathan), 2004
floor unit: 5 ½ x 38 ¼ x 12 ½ inches
hanging unit: 17 x 13 ½ x 40 inches
cast pigmented flax paper, beech bark, wood,
vinyl coated stainless steel cable, steel
From the Correspondent, Not Equivalent series:
untitled (land shoe and Leviathan), floor unit
From the Correspondent, Not Equivalent series:
untitled (land shoe and Leviathan), hanging unit
From the Correspondent, Not Equivalent series:
untitled (land shoe and Leviathan), surface details
From the Correspondent, Not Equivalent series:
untitled (land shoe and Leviathan), surface details
From the Correspondent, Not Equivalent series:
untitled (wall grotesque yearning for a breathless floating mountain), 2004
wall unit: 14 ½ x 13 x 7 ½ inches
hanging paper unit: 4 ¼ x 11 ½ x 6 ¼ inches
cast pigmented flax paper, hemp paper, flax twine, birch plywood, beech bark sections, copper leaf, aluminum wire, lead shot
From the Correspondent, Not Equivalent series:
untitled (wall grotesque yearning for a breathless floating mountain), wall unit
From the Correspondent, Not Equivalent series:
untitled (wall grotesque yearning for a breathless floating mountain), hanging unit
untitled (non-native board), 2004
97 x 29 x 13 7/8 inches
water marked & cast abaca paper, Ailanthus bark,
Kauri pine, Mulberry burl
untitled (non-native board), annular ring aperture side
untitled (non-native board), side detail
untitled (non-native board), aperture detail
untitled (non-native board), bark aperture detail
From the Correspondent, Not Equivalent series:
Light Catcher/Stone Anchor, 2004-07
Dimensions variable
pigmented and cast flax paper, stone, linen twine, paulownia, oak
From the Correspondent, Not Equivalent series:
Light Catcher/Stone Anchor
From the Correspondent, Not Equivalent series:
Light Catcher/Stone Anchor, details
From the Correspondent, Not Equivalent series:
Light Catcher/Stone Anchor, stone anchor on shelf
Paper Works 1998-1999
Untitled (hemisphere) 1998
2 ½” diameter x 1 ½” deep
Cast bleached flax, coiled unbleached flax
Untitled (shadow window) 1998
13 ½” high x 14” wide x 3” deep
pigmented abaca and abaca laminate, cast abaca, sumi-painted flax, birch, thread
(shadow window), oblique view
-(shadow window), oblique detail of center
Untitled (tilted on a shelf) 1998
10 ½” high x 7” wide x 2” deep
cast abaca, kozo with sumi drawing, wood
Untitled (horseshoe crab) 1998
32’ high x 8 ½” wide x 9” deep
cast and scraped unbleached flax, coiled pigmented flax
Untitled (horseshoe crab), surface detail
Wound and Shadow 1998-99
15” high x 23 ½” wide x 3” deep
abaca sheet, cast abaca, sumi ink, wood, cotton thread
Untitled (coral) 1999
7” high x 2 ½” wide x ½” deep
cast and coiled bleached flax, red iron oxide
Untitled (white oval in brown) 1999
4” high x 2 ½’ wide x ½” deep
cast and coiled unbleached flax, cast bleached flax
Untitled (reflector fold) 1999
13 ¾” high x 9 ¾” wide x 3 ½” deep
pigmented abaca and abaca laminate, pigmented drafting trace, chipboard, wood,
paint, silver mylar
Untitled (round void) 1999
14” high x 11” wide x approximately 2 1/2 “ deep
cast abaca, laminate bleached flax
Untitled (round void), oblique view
Untitled (round void), center surface detail
Untitled (brown void) 1999
14” high x 11” wide x approximately 3 ½” deep
cast unbleached flax, laminate bleached flax, wood
Untitled (brown void), oblique view
Untitled (brown void), center surface detail
Untitled (blue probe) 1999
14” high x 11” wide x 3” deep
laminate pigmented abaca and abaca, blue polyurethane foam, silver pins
Basin with Strings 1999
37” long x 21” wide x 16” high (dimension with strings, variable)
cast rotted flax paper, copper leaf, pigmented and watermarked abaca, aluminum
wire, linen twine
Basin with Strings, oblique view
Basin with Strings, surface detail, basin belly
Basin with Strings, surface detail, top
Untitled (wall hole) 1999
20” high x 6” wide x 11” deep (includes wall thickness and form depth)
cast unbleached and bleached flax, polystyrene, wood, chipboard
Untitled (wall hole), other side of wall
Bag of Pre-mix 1999
hanging unit: 14’ high x 10” wide x 14” long
floor unit: 13” high x 15” long x 10” wide
total dimension variable
cast unbleached pigmented flax, cast pigmented abaca, cast pre-mix concrete,
copper leaf, stone, cast water putty, dyed water
Bag of Pre-mix, detail of anchor basin
Bag of Pre-mix, detail floating form-1
Bag of Pre-mix, detail floating form-2
Paper Works 1983-1997
Place of Nature/Nature of Place,
Levy Gallery, Moore College of Art, Philadelphia, PA
1997
This was a retrospective Survey of my work in hand made paper and mixed materials. It included work through to 1997.
The small room seen in the background was built to accommodate a small version from the 1996 installation Ornament and a special table vitrine I had built to show very small works from a large series I call findings.
1990 exhibition view
Aftergrowth/Rootstock, 1990
6’ 2” high x 26” wide x24 ½” deep
Mahogany, cast raw flax paper, ailanthus log section
Aftergrowth/Rootstock, side
Aftergrowth/Rootstock, back
No Logic To It, 1990
5’ 9” high x 24” wide x 84” long
Mahogany, hemp cord, used crucible skimmer
No Logic To It, detail, convex carving
No Logic To It, detail, concave carving
No Logic To It, detail, crucible skimmer
Once/Never, 1990-1997
18” high x 18” wide x 32” long
Plaster, metal lathe, rotted flax paper, pigmented flax paper, wood
Once/Never
Generator,
Provencial Museum, Hasselt, Belgium, 1988
Room: 11’ 10” high x 14’4” wide x approximately 16’ long
Generator: base, 48” square; octagon wheel, 9’4” diameter; whole: 9’ 9” high
Pigmented flax paper, wood, paint, kozo paper, linen twine
Generator was done for Paper Art, an international invitational at the Provencial Museum. It was made possible in part by an artist’s residency at the Jan Van Eyck Akademie, Maastricht, The Netherlands.
The Generator was in a room that acted like a stage above and at the end of a much larger room, containing another installation by a different artist. It was like a fan for that room. It could be spun. At the end of the exhibition, I transformed the fin papers into poem papers, one for each of the other participants in the exhibition, and sent one to each.
The blue-dyed kozo paper octagon on the far wall is a portrait of
the Generator wheel. The walls were stained terracotta for the exhibition.
Oblique view-The windows behind the Generator have been coated with kozo paper.
Detail-hub
Detail-edge and interior floor, which is a specially pigmented flax paper, adhered
to the floor within the footprint of the Generator.
Night Finder/Mourning Morning Cloak/Moth’s Wing Holds a
Constellation, 1983
29” wide at top x 47 ¼” long x 41 ½” deep (tip to wall)
cast pigmented abaca-mitsumata-flax paper, gampi paper, pine, poplar
The holes shown in the surface detail act as camera obscurae to transmit images of the available light source to the round gampi paper screen.
In this case, the gallery lights, but the shape and color of the light on the screen would change with a natural light source.
Pulled in Opposite Directions, The Skin Holds Light By Stretching Darkness, 1985
21 ½” wide x 78 ½” long x 7” deep
cast unbleached Belgian linen paper, parana pine, waxed linen thread
Pulled in Opposite Directions, The Skin Holds Light By Stretching Darkness, 1985
Pulled in Opposite Directions, The Skin Holds Light By Stretching Darkness, 1985
What Closes Here, Opens Elsewhere, 1985
66 ½” high x 24” wide x 24” deep
cast pigmented & dyed ramie-flax paper, indigo-dyed gampi-ramie-mitsumata paper, sycamore, plywood
The aperture is a cast paper cone that reaches all the way to the central small, perforated area in the blue paper screen side.
Solidity is a Function of Distance, 1985
22 ½” wide x 41 1/4” high x 15” deep
cast dyed linen paper, birch plywood, bamboo
The black paper is actually translucent where it is watermarked.
Uncontainable, Once Begun, Light Flees Its Center Ceaselessly, 1985
44 ¾” high x 51 ½” wide x 16 ½” deep
unbleached Belgian linen paper, redwood, silver mylar
The triangular sheet is a flat casting; when it was wet, the dark ‘marks’ were ridges of pulp, ¼” to 1” high and proportionately wider.
The ‘marks’ on the translucent paper screen are actually different densities in the surface of this high shrinkage paper.
Tatlin's Boat (If Tatlin had a boat, / He would ride it/Upside down in the sky, /Unthwarted.), 1986
34” wide x 64” long x 27” deep
cast indigo-dyed hemp paper with copper pigments, unbleached flax paper, wood, linen twine
The blue spots on the hull are translucent.
A Vertical Eye (A Wound and A Weapon), 1987
100” high x 14” wide x 21 ½” deep
cast pigmented flax paper, unbleached flax paper, wood
Disembodied, 1987
51” high x 19” wide x 19” deep
cast pigmented flax paper, wood
Epiphenomenon (Phase Transition), 1987
44 ¼” high x 41 ½” wide x 108 ¼” long
cast hemp-flax paper, paulownia log
The Core and The Companion, 1987-88
62” high x 125 ½” wide (long) x 59” deep
cast pigmented flax paper, paulownia log, stone, branch, gold leaf (inside
hanging form)
The hanging unit is counterweighted by the floor unit via a linen twine connecter that originates in the pulley wheel of an old clothesline that is grown into the paulownia tree section and passes up through a ceiling connector.
The form of this unit (the “companion”) derives from the void in the log section (the “core”).
The Companion is lined with gold leaf and the stretched flax paper membrane on its flat side is translucent. This membrane is affected by the glow of the gold, but also acts as a screen for the light patterns transmitted by the holes in the dark hull of the Companion, which turns with the shifting air currents.
Tropism, 1987-88
144” high x 52” wide x 110” deep
cast pigmented bleached flax and hemp papers, pigmented flax paper, elm log,
oak, fluorescent light fixture
The long paper-coated hanging unit is the main rib used in the casting of the grey form descending from the corner.
Floor unit: The log section beneath the cast form on the floor is also paper covered.
The greenish glow comes from the interior translucent green form, which is illuminated by a ring fluorescent light.
Light Cycle, The Visual Arts Center of Alaska, Anchorage, Alaska, 1986
The boat was 14 feet long. Each of the 12 characters was 7 feet high.
The mask heads were approximately 2 feet long.
Cast bleached linen paper, black polyethylene plastic, wood, flashlights
Light Cycle was a performance about how the days get longer. It was enacted outside in the snow in early January. The work was produced for the Visiting Artist Program at the Visual Arts Center of Alaska. I was invited both to teach something about paper casting and to do a work. I conceived and directed Light Cycle as a performance production, executed by artists at the center and myself. It was designed to be recorded, and later told as a story. A small photo story pamphlet was produced after the production, but the video done at the time was compromised by the low light conditions and is now lost.
Detail of one cast 'head' done by one of the participants- translucent high-
shrinkage linen paper
I designed and built a prototype for the costumes for the participants. The heads were translucent cast paper and were mounted on poles so that, once draped with the black body cloak, all participants appeared to be the same height. A flashlight was mounted in each head so that it could be lit from within. Each participant made a cast paper head, using my mold design, and supervised by me so that they learned about both high shrinkage linen papers and the unique casting process. There were 12 entities, representing the 12 months of the year.
Light Vessel in water- The boat is entirely paper with no reinforcement and no
protective coating. The high shrinkage paper is practically waterproof, once dried.
I designed and cast the paper boat with the assistance of the artist John Ploof, who was teaching there at the time. The performance recorded the 12 figures waking in the snow, traveling to a ‘light hold’, freeing the light vessel, carrying it to the river, and releasing it to float away.
Light Vessel burning
When the video of this performance failed, I added the element of burning the light vessel. The slides document a partial re-enactment done afterwards by John Ploof and some of the participants.
