An Update....

It has been a year since I have posted anything on this blog. In many ways, I had forgotten it. Until today…

Recently, I have been thinking about the past year. October 7, 2012 found me preparing for my MFA thesis exhibition. I was a nervous wreck, not entirely sure of what I was doing yet (my work is site-specific). I was also worried that my thesis committee would hate it and I would have to re-do the entire thing and remain in school for another quarter at the very least. The exact opposite happened though: my show, A Tale of Two Bridges 2012, (although poorly attended) was wildly successful and published digitally and in print. I returned to New York City a new graduate the words “now what” running through my mind.

Fast-forward to October 2013: I still have those words running through my mind as I sit in my studio at the end of my first artist residency at The Wassaic Project. With three weeks left to produce before traveling on to the Vermont Studio Center, I am considering my next career move. All of my previous experience is obviously informing these decisions. For example, my recent public installation on Hilton Head Island, South Carolina has made me consider more public work. How can I continue to create pieces in the same vain but as permanent installations? There is also the question of the socio-political conversation that I am still interested in engaging visually.

And thus the exploration of potential new materials begins….

Check out more work at

Luther Barn at The Wassaic Project Artist Residency. 

Support and Seizure, Wassaic, New York, 2013, Braided Mason Twine, Blacklight and Eyelets. Photographs by Danny Ghitis. A mixed-media installation that explored the socio-political dynamics of the Wassaic Project Artist Residency, particularly the merger between the two communities: artists and locals. I was interested in the revival of the Wassaic, once a forgotten hamlet plagued with home foreclosures. Many of the community members told me how happy they were that the residency was in existence because it brought new life and interest to the area. The Wassaic Project continues to look for ways to revive the area such as its newly implemented art education program, which I have had the pleasure to be a participant of as their education fellow.

Coastal Discovery Museum Juried Public Art Exhibition, Art Around the Horn, Hilton Head Island, S.C.:

I was recently in Hilton Head, SC installing my largest work to date, Gossamer. This work of art was built out of 15,000 feet of nylon cord, 2000 screw eyes, blacklight and hand painted with glow-in-the-dark paint. The piece took over 150 hours to build. I was fortunate enough to have my mother Nancy and friends Lauren and Adam help me to build the piece. Without their, help this "three-dimensional" drawing that was installed in a pole barn 12 feet in the air would not have been completed in time for the art opening.

I have opportunity to win prize money for this work of art. Winning will allow me to fund my upcoming artist residencies in Vermont and France and will help me to finish the work for my solo show at Roy G Biv gallery in Columbus, Ohio February 2014. I would greatly appreciate it if you would go to the following link:

And select "Artists". 

A survey will appear. Please click on my piece "Gossamer" and select "submit".

Gossamer, Hilton Head Island, 2013: 15,000 feet of nylon cord hand painted with glow-in-the-dark paint, 2000 screw eyes, and blacklight. Photographs by Adam Trevillian.

Gossamer, 2013, Screen print with glow-in-the-dark blue ink, 16" x 18".
 A Tale of Two Bridges and the Concept of “Inner Strangeness.”

A Tale of Two Bridges (2012) explored old conversations about city planning, race and power, and the more current social and political climate in Savannah, Georgia through the recreation and emulation of The Talmadge Memorial Bridge and its skeletal twin. The installation was built inside the remnants of an old confectionary building located at Southern Pine Company, a warehouse complex located in Savannah. This piece created out of light-sensitive braided mason twine and illuminated by blacklight appeared as a beacon of hope amidst its dilapidated surroundings of the warehouse and outlying, economically depressed, immediate neighborhood. The selection of this location was a visual way of incorporating Yamacraw Village, a notorious public housing neighborhood that lies in the shadow of the Talmadge Bridge, an area that once belonged to Native Yamacraw Americans.

I began my MFA education at the Savannah College of Art and Design in the fall of 2010 and moved to Savannah, GA as an alien/outsider not accustomed to the Southern culture. I was shocked by the prevalence of minority segregation in the city. A Tale of Two Bridges was my visual response/reaction to the social dynamics of the Southern American culture I found myself in. It was a projection of my thoughts and ideas relating to the social norms of Savannah that made me uncomfortable. My installation inspired by the two bridges, echoed the neighborhoods that surrounded them, outcasts within their own city.

The idea of “inner strangeness” or internal dialogue is developed socially through our active and passive interactions with others. Psychologist Jean Laplanche claimed, “we all begin life thrown by the enigmatic desires of those around us.”[1] These desires are difficult for individuals to fully understand causing us to feel disoriented and experience an “inner strangeness”. The residual effects of this inner strangeness become stored in the unconscious, affecting the overall sense of self. A Tale of Two Bridges demonstrated my own personal inner strangeness in attempting to position myself within the social norms of Savannah, Georgia. I chose to respond to that discomfort through my work, a piece I hope will influence others to become more socially aware.

[1] Gross, Aaron, and Anne Vallely. Animals and the Human Imagination: A Companion to Animal Studies. New York: Columbia UP, 2012. Print.

A Tale of Two Bridges, Savannah GA, 2012, Interior/Exterior Installation, video, found objects, black light, braided mason line, screw eyes, acrylic, wood. Photographs by Steve Moraco.

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