“Park” was installed in a gallery located in the bed of a pick-up truck. It was a temporary, situation specific installation that served as a mobile green space for daily commuters traveling the I-5 corridor.
“Fur Coat and Skeleton Stand” is an experiment in language and circulation. Made in response to the exhibition Good Neighbor, its parts come variously from a relative that passed away, a library, a skeleton, and a quote from a short story written by Charles Yu. The quote reads as follows: “Feeling grief. Someone else’s grief. Like wearing a stranger’s coat, still warm with heat from another body.” The stand, without a skeleton, supports the coat. The coat, without a body, is supported by the stand. The words, without arms, bring the two together. In the back of the coat is a checkout card from a library. Alluding to a dust jacket, it’s also meant to be a proposition: text is to body as needle is to thread. In the context of Good Neighbor, it is also simply a warm winter coat for anyone that needs it.
“Be Vintage” was a temporary, site specific project set on First Hill in Seattle WA. Using solicited advice from octogenarians in the community, we created a marketable health and lifestyle plan targeting Millennials. Our web based platform, thematic podcasts, and an ad campaign served as a bate-and-switch like tool for recruiting volunteers for retirement homes. Sponsored by SDOT and City of Seattle.
“Slot Machine/Sedōka” was made in collaboration with Rob Rhee. The combination of slot machine and Sedōka (style of poem) is equal parts pairing and proposition. Both structures, mechanical and poetic, are built for sedentary transportation. Both structures ventriloquize. The machine pulls its own arm with the arm of another. The Sedōka tells a story: a worker at a slot machine factory is addicted to the machines she assembles.
“Picture” is a composition that, under certain conditions, produces returns. It is made of three unaltered wheel coverings, called ribbons, from an old slot machine. There’s a specific number of each fruit per ribbon that go into circulation when the game is played. The quantity of the symbol, the orange for instance, determines how often it will turn up in a winning combination. The combos that turn up the least are made of the rarest symbols and come with the largest payouts. While these are just kind of the rules of the game, when you look at the symbols from a pictorial perspective value is equated with scarcity. The same could be said of the three ribbons thumb tacked to the wall and other items one might find hanging on the walls of a gallery. Seen through the lens of the Internet age– of trending, of going viral, of videos with over 2.5 billion views, etc.– “Picture” is a meditation on a paradigm shift: the ways that an image produces returns are changing.
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