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Do you have any sense of how many pieces you're going to include in the show?
I'll see what fits and what doesn't, but it looks like half a dozen, somewhere around there, will be the perfect number. I think it's going to be a balancing act between a fairly gridded-out arrangement of the work so that it doesn't read as scatter, but not so many that it's this kind of assembly-line, battery-style, "one could replace the next" kind of overabundance.
How have you selected the pedestals for these pieces?
Well, the pedestals came about because I wanted some reference to or basically the form of the white rectilinear pedestal, but I wanted to move it a few steps outside of the gallery and reference a more domestic space. Or not even a domestic interior space but the space of the world, the non-gallery props of our lives. So I wanted something that was very close to being that cube and that riser but had a little bit more detailing and a little molding. And so the idea was that they would be neutralized somewhat but still have all of these other associations to them. And I think also that would really change what that surface is that the sculptures are sitting on. It would be loaded in a somewhat different way than it's loaded when it's on a conventional pedestal. But again I didn't exactly want the pedestal to be of equal weight to the work on top of it. It's still the secondary device and should be one step between the floor and the work.
That sort of goes back to what you were saying about removing the figurative elements from your work, because those recognizable images have moved out of the sculpture, and are underneath it.
That's a great way to describe that continuity. Yes, I do still want the nameable object, but it isn't so much the feature. And initially, at the beginning of this project, the idea was to paint all of the pedestals white, and really pass them off entirely. And the more I got into it I felt like I could be a little bit more free about how much finish and how camouflaged the found objects are. It's gonna be more of a full spectrum of approximating a gallery object and retaining the found object.
Did you actually find the furniture you're using as pedestals on the street?
No, it's been a combination of dedicated shopping trips, and inheriting a few and some of them I actually made. It hasn't been a regimented process.
Your finished pieces often feature aspects of raw, unformed materials. That transformative effect in your work seems very strong, whereby objects begin in one form and bloom into another.
I think there are two reasons why the work has taken on this emerging of form from raw material or becoming or coming into a form but not fully. One is that there's a real problem with building something with a lot of layers and density and being able to have control over every surface and so I think to accommodate that I wanted to embrace raw material. So if, as I was working, a material was left unfinished, and then because of whatever construction was formed around it it became inaccessible, that would be a component that I would embrace.
And then also I believe in a broader sense that sculpture, or successful sculpture, should embrace this transitional or in-between location between a realized, understood, socially acceptable thing, and something that is not formed in the least bit, or doesn't coax interest out of the viewer. I think finding that in-between spot is the core reason for trying to stop at that spot. And that's its own problem: trying to figure how much is enough formation and what seals off the work and makes it stale and predictable, and finding a medium.