Personal History and Education
Artist's Statement : THE VANITY WAVES
The Vanity Wave sculptures elicit mobile pathways of re-appropriated existence. Low, curved wooden platforms offer one or more recognizable objects that summon an "imagined occupation" on the part of the observer.
Each wave consists of one or more symbolic handles that propose an affirmative gesture. This orientation point ranges from a simple door knob, walking stick, or gas pump handle to a coat hanger or the bone from an animal.
Using recuperated wood from interior walls, floors and chair parts, each wave is given form by two similarly bent or sculpted wooden rails that serve as supports. These supporting rails create the directional pathway beneath the wave, giving each the impression of having a front and a back, while invoking a time-related path. A Vanity Wave then, is a two sided barrier or field where an imagined activity takes place inches above the floor.
Some waves designate by their physical size the limits of this "imagined occupation", while other waves serve as an appendage to a larger area of proposed activity.
THE ENCLOSED SPACEWAVES MANIFESTO
The Enclosed Spacewaves Manifesto attempts to mirror a continuum of mental self-reflection.
It mixes war symbolism with a dash of Americana as representative of internal conflict: the home as cubicle and emotional center, projection as interrogation and cover-up, and definitions or text serving as voice-over, to name a few.
The ESM espouses a form of primitive interaction with a drawing that is activated by it's briefly worded description.
TV screen sized images of depopulated landscapes and interiors rendered in white chalk on black paper invite an "imagined re-rendering" on the part of the observer.
This usually involves the removal of certain "dotted line" images to allow a re-interpretation of the text's meaning.
This can allow for such acts as reaching through a drawing and touching one's eyes.
The Manifesto has no ending and no preconceived order of presentation, merely occasional punctuation served through the insertion of drawings without text.
I feel that mankind's first impulse is to seize and reorganize the territory around himself.
Intimate personal barriers and how we physically approach them hold the seeds of our assumptive handling of space.
From machines for self-improvement to office space organization to automobile interiors on down to raking the leaves in our yard, our activities, altered through the use of technology, have streamlined our approach to menial tasks and their associated bodily movements. This has also bestowed upon our former tools of yesterday a near symbolic status.
Simple body movements reflect our impulses and end, or come to terms with, the manipulable handheld object. Therefore, I prefer to examine the immediate range of a physical activity and it's ergonomics as my point of departure, and use the handheld object as my point of orientation.
I feel that conveying an idea of "imagined occupation" is in tune with our learned relationship with consumer goods and their settings, for we are not allowed to touch or use those images and objects that pass before us. Nor are we allowed to touch most art. By using the standard of "don't touch" and exercising this rule before the potential usefulness of the "poor" and "thrown out" world of materials, a theater of the imagination is opened.
With the notion of "potential ownership" constantly being entertained in our culture, and specifically, the idea of "potential use", desire and imagination can reintroduce a pathway towards an examination of these subjective barriers and their ramifications.
Personal History and Education
Born 1959, Aberdeen, Washington
Washington State University, major in Fine Arts
University of Washington, major in Fine Arts
Grays Harbor College, major in Fine Arts
1982 - moved to Paris France, Ecole du Louvre, major in Fine Arts
1985 - joined art group Frigo 6
1989 - moved to Berlin, Germany
1990 - joined art group November Gruppe
1992 - returned to U.S.
1994 - moved to Albuquerque, New Mexico
1997 - moved to New York
2009 - Dialog Gallery, with Greg Parascenzo, Roanoke, VA
2002 - Studio Facchetti, group show, sculpture,
2002 - Studio Facchetti, group show, drawing,
2001 - Studio Facchetti, solo, installation and
sculpture, Brooklyn, NY
2000 - Rex Gallery, group show, sculpture, Seattle,
1999 - Williamsburg Art and Historical Center,Apocalypse
show, wall sculptures, Brooklyn, NY
1998 - Grays Harbor College, "Ink Images" with
Lary Hagethorn, Aberdeen, WA
1997 - Gallery Neutral Space, "Steinbox" installation
and Wall sculpture, Albq., NM
1996 - Ralph Green Gallery, solo, wall sculpture,
1996 - Harper Gallery, "Constructed Priciple",
solo, wall sculpture, Albq., NM
1996 - Harper Gallery, "intersect", group
show, wall sculpture, Albq., NM
1995 - Peter Eller Gallery, "Find/Refined",
group show, wall sculpture, Albq., NM
1995 - Ralph Green Gallery, solo, wall sculpture,
1995 - NYU Gallery, "Small Works", wall
sculpture, New York, NY
1994 - Grays Harbor College, solo, sculpture and
paintings, Aberdeen, WA
1994 - Grays Harbor College, local artist, sculpture,
1993 - Yenom Gallery, solo, wall sculpture, Aberdeen,
1993 - Grays Harbor College, local artists, Aberdeen,
1993 - Childers/Proctor Gallery, "5 X 5",
group show, sculpture, Whidbey Island, WA
1991 - Voigtsberger Gallery, "Nofretete unterm Hammer",
sculpture, Berlin, Germany
1990 - Moscauer Gallery, "November Gruppe",
group show, sculpture, Berlin, Germany
1990 - Earthworks Gallery, solo, sculpture, Berlin,
1989 - Gallery des Gonds, FRIGO6 group show, sculpture,
La Chaux des Fonds, Switz
1989 - FRIGO 6, L'art du Tresieme, group show,
1988 - FRIGO 6, L'art du Tresieme, group show,
painting, Paris, France
1988 - FRIGO 6, Spring show, painting, Paris,
1987 - FRIGO 6, Fall show and Spring show, painting,
1986 - FRIGO 6, Fall show and Spring show, painting,
1994 - Evergreen State College, guest artist, sculpture
1992 - 2500 square foot mural in Berlin complex, Deutsche