My work embodies the notion that visual traces in my paintings, books, installations, and video are fragments of shifting time: surfaces as slices of memory that build on top of another. The transitional access points of two-dimensional surfaces to installations allow the opportunity to dematerialize familiar passages, so the following work can be translated and reassembled in other ways. The remnants of the marks I create through the process exist as potentials that can be reinterpreted. I seek to present the constant changeability of my work that can be moved around and played with.
In “After a Tornado Swept 80’s Kid’s Birthday Party”, I set up a new set of rules for the visitors who are welcomed to collaborate on creating a painting using spray guns. The pool rules follows:
1. No Running in the pool
2. No Shooting at Each other
3. Do not go more than 3 meters into the pool.
The pool, located in the basement of The Commerce Center in South Bend, Indiana, is in an unusually long and narrow room with low ceilings. The 80’s tropical wall painting on the furthest wall seemed to suggest a mystical fantasy that also implied a similarity with the strangeness of the building’s atrium space, which is an intriguing place composed of European lamp posts and voyeuristic office windows on the brick walls.
I want to bring the coexisting representational and delusional factors into the pool, by setting up objects made to replace the “real”, such as spray guns, Styrofoam plates, pictures of plants, food coloring. The visitor can use spray guns and shoot as furthest they can into the pool, but are not allowed to walk through the pool.