Thousands of pieces of wood lath are stacked to make architectural and organic forms. High towers, overturned boats, large urns, and walls become almost transparent because of the spaces between the criss-crossed wood. Each piece of lath has been deliberately placed atop another, sometimes parallel, sometimes at an angle. Engineered with neither nails nor glue, the forms stand by strength of balance and gravity.
I want things to be clear and direct.
But each construction/reconstruction
strengthens and weakens
reveals and conceals
enlightens and confounds
and the familiar appears unfamiliar again.
Like reverse entropy.
Something inevitable occurs: Order/Disorder/Reorder.
The work, the piece, the idea, particularizes the general, creates something singular and specific from a repeated line; engenders three-dimensions of space as well as three-dimensions of time.
Repeated elements, repeated structures in different locations.
Something left off the end and added to the beginning.
Permanence through renewal.
So I want it to be clear, and it must be singular, and it
has to stand on its own.
There is no mystery in how I work; everything should be self-evident: the material, the method, the fragility, the space. Edward Mayer is a Professor and Sculpture Area Chair at the University at Albany, SUNY. He holds a BA from Brown and a MFA from the University of Wisconsin, and has taught at Ohio University and Tyler School of Art, Rome, Italy. His work has been exhibited throughout the United States, Germany and Brazil.