Unmoving

Unmoving, 2004, gelatin silver prints mounted to Plexiglas and Sintra, h 10” x w 32”

Unmoving is a panorama comprised of four photographs made in the morgue over the course of a day. Although the panorama is noticeably empty and still, the space was active during the day. The photographs were made during the time in-between numerous autopsies. Alignment discrepancies present in the four images draw attention to the repeated breakdown and setup of the large 8” x 10” camera and consequential repositioning errors – human qualities in an otherwise lifeless environment.

Headrest

Headrest, 2001, gelatin silver print, h 20” x w 16”

The simple curves and surprisingly elegant design of an autopsy headrest disguise the purpose of the device – to hold the cadaver head secure and allow drainage during autopsies. Additionally, the imposing scale of the work contributes in generating tension between the work and the viewer.

In twighlight, general outlines of ground objects may be distinguishable, but the horizon is indistinct

In twighlight, general outlines of ground objects may be distinguishable, but the horizon is indistinct, 2004, Marine Plywood, CD player, 2 speakers, audio: total running time 32 seconds, looped, h 5’6” x w 32’ x d 4’9”

In twighlight, general outlines of ground objects may be distinguishable, but the horizon is indistinct, 2004, is a 32-foot wide staircase that has been truncated at its third step. The staircase would connect to the upper level of Smack Mellon gallery, were it to continue. It is constructed of Marine Plywood in homage to the minimalist objects that in part inspired it. Speakers hidden beneath the two endpoints faintly play in continuous loop the first few bars of a rendition of Perry Como's Sunrise, Sunset. This project is a collaboration with Christopher Ho.

Special thanks to Eric Zeszotarski of Solid Studio

A Response to a Set of Conditions

A Response to a Set of Conditions, 2004, Super-8 film diptych transferred to DVD, color, silent, total running time 2 minutes and 49 seconds (top: 9 film stills from left half of diptych, c-print mounted to Plexiglas and Sintra, h 9 1/2” x w 14”; middle: 25 film stills from right half of diptych; bottom: 2 film stills from right half of diptych)

A Response to a Set of Conditions is a silent film diptych comprised of Super-8 films shot in a morgue. The patterns of behavior depicted in the film intuitively utilize the morgue as a studio for developing awareness of motor skills (left film) and the real-time linguistic game presented in the right half of the diptych demonstrates cognition through the process of discerning new word combinations from labels on two pathology sample containers.

The following routines presented in the left film each run for the length of the camera’s manual wind: circumnavigate the morgue with a pencil balanced on the end of a ruler; hold raised, extended legs in front of the Wastemaster sink disposal grinder; grasp a bucket of pathology samples and maintain arm in horizontal position; negotiate figure eights around floor drains with a luggage cart loaded with an empty cardboard box; twirl a bone chisel with one hand; spin to the point of dizziness on a swivel chair; turn a radio dial rapidly back and forth from one end of the spectrum to the other; keep a roll of surgical tape moving constantly; walk figure eights around floor drains with fingers; repeatedly unbutton and button top two buttons of shirt.

The following word combinations are presented in the right film: no ear; no hear; he no hear; no heart; no art; he no art; heart art; normal art; normal ear, normal ear art; no ear muse; use no muse; he use a heart muse; mal muse; normal hearts museum.

The Plot is Very Bare

The Plot is Very Bare, 2005, 50 LightJet prints mounted to Sintra and Plexiglas, h 4.875” x w 6.5”

The Plot is Very Bare represents an uncomplicated walk across a baseball field to the bench in the dugout. Each photograph is taken from a position one step closer than the previous and the photographs are installed exactly one pace apart from one another. Additionally, this is the Encino Little League field in Encino, CA where the character Stacy from the 1982 film Fast Times at Ridgemont High loses her virginity to Ron Johnson the lecherous audio consultant from the mall.

Head and Headrest

(image intentionally not shown)
Head and Headrest, 2000, c-print (from 16 Polaroid prints), h 8 1/2” x w 28”

Head and Headrest is a sober and methodical examination of an atypical situation.

Phantom/Fountain

Phantom/Fountain, 2004, c-print mounted to Plexiglas and Sintra, h 54" x w 36 1/2”

Phantom/Fountain is a mouthful of water spat at a camera held at arms length in a morgue. The liquid is suspended midair on a dark field, taking on a glowing and ambiguous form. The large scale and highly reflective surface of the piece generates a merger of viewer reflection and image, harkening back in a playful way to the double-exposure trick photographs of ghosts, auras, and ectoplasm found in the mid-19th century genre of spirit photography.

The Mummy Project

The Mummy Project, 2004, offset printed magazine, h 4” x w 6”
Images: 3 pages published in the April issue of Flyer