This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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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.
Artist Statement
There is no mystery in how I work; everything should be evident: the material, the method, the fragility, the space. 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 to be clear, and it must be singular, and it has to stand on its own.
When
1985
Edward Mayer is a Professor and Sculpture Area Chair at the University at Albany, SUNY. He holds a BA from Brown and an 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.
