make piles of paint chips, create a fiction of the space molting
expoiting the seams in the walls; create cracks where there are none
activate more aspects of the space, use more walls, more floor space
the plugs have the possibility of outlining, activating the space
have the suggestion that the space is behaving like an organic thing; that it is growing, changing, obeying a logic that is self contained; that it is invested in its own survival
the plugs are simultaneously part of and separate from the space; they are powered by the space
if, as gaston bachelard says, different kinds of domestic space are representative of varying states of mind, then what kind of mental state does the oppressive whiteness of a gallery elicit? it is meant to elicit nothing; it is meant to be seen as neutral, entirely bland, a bowl of plain oatmeal. it is a means to an end, and seeks constant self-effacement. this is partially a pragmatic decision; if visitors are paying attention to a particularly well-decorated room, they will have less time and energy to spend on the paintings adorning the walls. but this decision is also a denial of the body; a denial of the gallery space as a lived space; it is as if the space were saying 'i'm not really here- you're not really here for that matter, you're floating in a sea of nothingness, all that exists is the art'.
there is a power in the fragment; trying to view an object differently by looking at the pieces that compose it. in my most recent piece, fragments of outlets are cast in plaster duplicates of their whole counterparts, illuminating both the piece and the whole simultaneously; it is reminiscent of archeological digs that present pottery fragments or bits of friezes in the orientation they eould have in their complete form.
my work is an exploration into the points of connection between viewer and the built environment.