polystyrene, 52" waist suit, blue satin, drafting paper, suits
In the other gallery are deck chairs, constructed of styrofoam with slings made of architect's drafting paper. Facing is a gigantic blue first-place ribbon. The center is cut out of the ribbon, but this time it has been placed on a back wall of the gallery. A pile of styrofoam cut-off pieces has been swept into a corner.
Walking into the first of two large spaces, the visitor is at the rear of a room which is set up like a lecture hall. Folding chairs constructed of styrofoam face an enormous size 52 suit. The chairs, while completely useless, are visually convincing. Suspended on a hanger mid air, the suit has a hole cut through its chest. The circle that has been cut out hangs on the wall about four feet behind this oversized figure.
I wanted to create an environment of ambiguity by taking the substance out of the form and the soul out of the substance. I decided to use the format of an assembly or lecture hall, then remove the soul from the rooms altogether. I wanted it to be a lecture on nothingness, a forum on the absolute. I used the suits as the international symbol of uniformity and the huge, blue ribbon to play on the notion of honor. I removed the “soul” from both the ribbon and the large suit to create specious objects that would reverberate in the chairs. I guess what I am ultimately questioning is faith: faith in the validity of the repeated experience, faith in tradition, and faith in individual free will. I wanted to fill both rooms but create a void. My art has been . . . a way to eventually attain an illuminative state of freedom. I strive to forget everything I have ever been taught, everything I have ever read, and everything I judge on a sliding scale of relative moral values. Born in Michigan, 1955, lives and works in Washington, D.C.