Socrates Sculpture Park

Exhibition: Scarecrow, 2014

Exhibition: Queen Mother of Reality, 2014

Exhibition: FOLLY: SuralArk, 2014

Exhibition: Fact of the Matter, 2014

Exhibition: do it (outside), 2013

Exhibition: FOLLY: tree wood, 2013

Exhibition: FOLLY, 2012

Exhibition: Open Space: Patrick McDonough, 2011

Exhibition: Float 11, 2011

Exhibition: Broadway Billboard: COCO144, 2011

Exhibition: Open Space: The (S) Files, 2011

Exhibition: Vista, 2011

Exhibition: EAF10: 2010 Emerging Artist Fellowship Exhibition, 2010

Coastal Hermitage, 2010
(In collaboration with: Gavin Anderson )
Wood, plastic, metal
11' x 15' x 15'

Fort Defiance North, 2010
(In collaboration with: Scott Andresen )
Reclaimed palettes, wood, Plexiglas, plywood, hardware, building materials
17' x 15' x 10'

Armchair Palimpsest, 2010
(In collaboration with: Trenton Duerksen )
Wood, steel, chalk, weather balloon, paint
204" x 62" x 62"

Crash and Burrow (Failure of the Jesus Nut), 2010
(In collaboration with: Jonathan Durham )
Bell 206B helicopter scrap, rotor blades, steel, wire mesh, timothy hay, feed pellets, water bottles, plastic, rivets, paint, rabbits
10' x 31' x 7'

Exhibition: Open Space: Dan Steinhilber, 2010

Exhibition: Open Space: Jedediah Ceasar, 2010

Exhibition: EAF09: 2009 Emerging Artist Fellowship Exhibition, 2009

Assisted Boardwalk, 2009
(In collaboration with: David Brooks )
Reclaimed lumber, hardware, (with American Lindens, Black Locusts, Black Willow, Littleleaf Lindens, Mulberry's, Silver Maples, Yellow Birches)

Contrary to convention, this boardwalk does not compose itself in a manner that circumvents the natural features in the landscape it traverses, but instead aims directly towards them. The path is specifically sited with regard to the mature trees in the grove, making them an obstacle in the prescribed route, while space is given to the landscape around them. As the boardwalk meets a tree it both narrows and surrounds it, forcing the visitor to confront and carefully navigate around the intersection of the natural and the manmade. This playful inconvenience encourages participants to interact more directly with the landscape.

Distracted by the Impossible Notions of Failure and Clarity, 2009
(In collaboration with: Pilar Conde )
Plexiglass, glue, screws, clear balloons, string
Approx. 7 1/2' x 6' x 1' with balloons dimensions variable

Ten 5-sided Plexiglas cubes stacked to form a pyramid.  One side of this wall is open to reveal cavities./ Balloons will be added to the piece weekly.  Some may fly away or become misplaced.  There will be an accumulation of balloons in the air and on the ground./The Plexiglas boxes are modeled after my parents’ speakers from the 70’s.  The shape says “sound” to me.  I became interested in sound and how it permeates a living space when my son was born.  There was sound now that I could not control.  The stack of speakers represented the sound of sheer terror as my son was waking up from countless nightmares.  As he has gotten older the nightmares have subsided and the sound has been reduced in our dwelling.  While vacationing this summer we slept in the same room as our son.  To our surprise he giggled and laughed often in his sleep.  The sound of the speaker now represents the connection of mind and mouth.   The possibilities and the joy, the things I cannot see.  For this reason, the tower of speakers are clear, allowing all possibilities and at the same time disappearing among everything. /The balloons are an important component of my process.  I like to place balloons near or among sculpture to assure people of the event taking place.  It is like an exclamation point.  I believe the cycle of the balloon is a wondrous thing.  So high and when it begins to fall, there is a span of an hour where the balloon can’t make up its mind if it will stay high or fall.  It begins to travel.  The act of gardening in the piece, is very important.  I want to keep it growing without weeding it.  To in a sense show life and death and the space in between those events.  

The Monumental Dump, 2009
(In collaboration with: Zack Davis )
Polystyrene foam, concrete, steel, epoxy, enamel
Approx. 18' x 6' x 4'

Monumental Dump is an outside investigation of the local landscape and its otherwise unwelcome cohabitants.   The concept was originally inspired by monuments seen throughout the many parks and cemeteries in Brooklyn, Queens and Manhattan.   The piece was carved by hand from dense polystyrene foam, which was originally used in the excavation of Ground Zero and generously donated for use in this project.   It was then coated with reinforced stucco and garnished with poured white enamel. /The pedestal portion merges organic forms derived from memories of the South Western United States with standard geometric forms repeated in this urban environment.   The subjects are the notorious pigeon and the unwanted, yet iconoclastic rat.  In this case the pigeon is deemed the highest ranking official as it sits awkwardly a top of the statue presenting its innate abilities as an abstract artist.

beginning is the end is the beginning, 2009
(In collaboration with: Christian de Vietri )
2' x 2' x 2'

The sculpture is a realistic representation of a campfire. It is a place around which people will gather and around which stories may be told. Cast aluminium sticks and logs are composed in an ordered pile, roughly smallest to largest reaching roughly 2 feet tall. The sculpture is intended to create an unadulterated, primal connotation of gathering and foraging with an allusion to fire building./ Fire has been an important part of human culture since the Lower Paleolithic time. The earliest known traces of controlled fire were found at Gesher Benot Ya‘aqov, Israel and dated to an age of 790,000 years. The use of fire brought us out of darkness and marked the very beginnings of human civilisation. It was our very first attempt to harness the forces of nature. From the dawn of time fire has been the nexus of human activities and human interaction./ While the campfire evokes thoughts of warmth, celebration or story telling, fire also has more dark and sinister connotations, provoking sentiments of destruction, fear./ It is the ability for this object to create multiple association and to thereby transcend signification that interests me. By avoiding a singular meaning or a fixed logic, it is also possible that the sculpture presents itself as formal abstraction – an arrangement of sticks and wood as lines and shapes./ To experience the sculpture is to enter an ontological paradox. It first may present itself as an unlit campfire. But the production of the sculpture has involved burn casting the pieces of wood. It is therefore a broken monument constructed through the processes implied by what is represented by its own formal arrangement. In other words, fire will be used to create this representation of firewood before being burnt. The final form, the image and shape of the bonfire, acknowledges the processes of its own formation, but the material shift denies the potential of the process suggested by its arrangement - Aluminium is a metal that cannot produce a spark. I am interested in this space of entropy between contradictions. The sculpture will be both a prologue and epilogue about fire - with the essential active element of light as fire as alchemy having passed through the sculpture already.

Untitled (Someone Left the Cake Out in the Rain), 2009
(In collaboration with: Aaron King )
Cement, lath, wood, paint

Enticingly created from concrete and paint, this sculpture is both whimsical and poignant. It seems almost edible but is so overwhelming in scale and volume that it is alluring and also intimidating. Stacked precariously on one another, this jumbled pile of confection and carbohydrates softly mimics the Manhattan skyline. 

Launch, 2009
(In collaboration with: Lynn Koble )
Tile, inner tubes, cement, wood, paint, mesh, hardware
15' x 12 1/2' x 58'

Alluding to Robert Smithson’s spiral jetty and Dorothy’s yellow brick road, Launch is a tiled path that appears propped up by flotation devices. Unwinding towards the East River, it never makes it past the guardrail, and seems to be caught in a moment of hesitation, a sink-or-swim second of doubt that belies its sunny surface. 

(In collaboration with: Zak Kitnick )
Unfinished steel shelving
16' x 4' x 3'

FIRST FROM THE MEANS is assembled from unfinished heavy-duty shelving units, an item with a commercial history, but also increasingly prevalent in the home and indicative of the integration of an industrial aesthetic into the domestic. As form-follows-function design was bastardized into a style, these shelving units seem to have all but replaced traditional wood construction along with ornament and craftsmanship./I am interested when one’s only relationship to the process of production is through customization, through assembling, personalizing, and exerting a preference. Building these basic shelving units into each other frees them from their slight burdens, holding a vase in the living room or a small sack of flour in the pantry, marginalizing their utility, but at the same time instilling them with a new purpose: to expose the structuring principles of so many of the things and experiences we surround ourselves with day in and day out. Consumption might be a new form of production, and FIRST FROM THE MEANS argues that the gathering and presenting of information and materials is their production.

The Persistance of Agony, 2009
(In collaboration with: Tamara Kostianovsky )
Wood, foam, vinyl

Being the largest mammal on Earth, I see the whale as a metaphor for humanity.  Its overwhelming body represents the sum of our individual bodies; its longevity accounts for the passage of time. Many societies have associated whales with the unconscious mind, devilish forces, or deities. This sculpture re-appropriates the animal and infuses it with a new meaning; one which embodies an ever-lasting sense of tragedy and despair.

My goal with this work is to translate the dramatic nature of life into a visceral experience.  

Fix It!, 2009
(In collaboration with: Mads Lynnerup )
Blue painted plywood walls, I-beams, wood, bricks, cinder blocks, scaffolding, concrete, wheel barrows, toolbox, corrugated metal shed and HD-video
16' x 40' x 32'

Simulating at first glance a construction site, Lynnerup’s project “Fix It” is on one hand pointing our attention to the many new development of luxury condos and apartment complexes in New York, that has stalled and are now lying half finished as a result of the recession and lack of funding, which is also a common sight in the area around the Socrates Sculpture Park./ The uncertainty and the overwhelming strange presence of the unused fenced off properties is in “Fix It” paired up with Lynnerup’s video recordings of a wide range of objects being repaired from school buses and Persian carpets repair to laundry cart and music instrument repairs, which can be viewed through different peep holes cut-out in the fence surrounding Lynnerup’s construction site.

Nowhere Left to Go, 2009
(In collaboration with: Wyatt Nash )
Styrofoam, plastic, wood
4' x 16' x 18"

The concept of this piece evolved from property lines in the city and the spaces in between where trash and discarded items are left to waste.Using EPS foam I started by making 50 different items of all sorts from popcorn makers to traffic cones and from guitars to tea kettles. I then molded each one and cast multiples of each. The next step was attaching them to a flat surface and then coating and finally coloring. These panels were then attached to a wooden substructure to create a wall.

As you sow so shall you reap, 2009
(In collaboration with: Navin Norling )
Found windows, wood, acrylic
14' x 12' x 12'

Recent news has reported the lynch mob mentality of Americans frightened by changing political tides and politician's efforts to reform our nation's health care system. Lynching, as an extrajudicial punishment meted out by mob to punish a perceived wrong, has been used to intimidate and to incite people to choose sides yet the use of such vigilantism has always been about fear and terror on the part of the mob and the victim. In my piece I have chosen to use the lynching tree image to open a dialogue with the viewer. By first allowing access to the image of the tree, then obscuring the tree's image with a white wash (my use of white paint to wipeout or erase whole parts of the tree) the piece juxtaposes the beauty of the image against the terror of lynching, then obscures it in part. I will visit the park throughout the season changing the image each time through the painting or washing of the windows to create the perception of transformation and rehabilitation thus opening the the viewer's mind to the concept of change.

Ghost Siege, 2009
(In collaboration with: Andrea Stanislav )
Steel, nylon, sound
22' x '63 x 63'

A site specific installation/formation of ghost flags comprised of 50 strategically located flag sculptures, made from reflective silver fabric, and steel flag poles. The formation reflects sunlight and appears “ghostly” at night, signaling the “siege” of the park. The flags have no markings or signifiers of conquest or elements of communication. Instead, the flags serve notice that the location has been conquered by time -- and in this way relate both to the artist's body of work regarding ghosts of Manifest Destiny and the experience of the visitor within the work.

Freefall is Free for All, 2009
(In collaboration with: Kon Trubkovich )
Crushed car, custom license plate, wood, paint, chainlink fence
4' x 20' x 10'

The crushed car reflects on the long lineage of using automobiles in American art while also including personal verbiage on the customized license plate attached to the sculpture./ It is a wreck and an apology for it, a statement on good and bad, beauty and ugliness, uniqueness and generality, zeitgeist and collapse. It is formal manifestation of a destroyed dream of greatness. Materials include steel, felt, plastic, metal, wire, aluminum, expanding foam, paint, etc.

Riot City, 2009
(In collaboration with: Lan Tuazon )
Resin, plywood
5" x 22", pedestals 30", 34", 38" x 22 3/4"

Riot City is made up of real, existing New York city buildings, taken and recomposed to a produce a riot friendly urban map. According to the historian Eric Hobsbawm structures of city town planning can stunt the success of protest and civic unrest to develop into political revolutions. American cities are considered defensible cities, cities designed to suppress and prevent even the beginnings of a revolution. Riot City is follows a radial format that integrates mixed status residences, centralized open plazas for mass gatherings and identifiable locations of power: world banks, civic center and corporations. 

Untitled, 2009
(In collaboration with: Brina Thurston )
Wood, paint, plastic, digital print, lighting
9' x 6' x 15'

Even before arriving at Socrates I had an inkling of what this place could use.  It may not be a Hector Guimard Paris Metro but the NY subway entrance can be an equally glorious sight in our busy urban lifestyle.  Alas, I only offer up a glowing decoy as a result of my thought process and interest in gaining my own access to the public art space.  Noticing I was drawn to pieces from previous exhibitions that thrived on the element of discovery I wanted to echo that, which I think is part of the Socrates experience as a whole.  The possibility that my work could be a beacon visible from even Manhattan was exciting.  This is a piece I know can stand up to the elements but will require maintenance/performance and some wet paint signs.  I was curious to see how the advertising and signage space would function in a dysfunctional stop.  Objects and architecture we encounter on a daily basis relocated or perhaps dislocated within the boundaries of public art institution hold great interest for me.  I also think that the general concept is much broader and critiques ideas of access while creating new opportunities and experiences.

The Crater, 2009
(In collaboration with: Erik Vysocan , Ninh Vysocan )
Rebar, sheet metal, enamel paint

Loosely structured around The Crater, a novel by classic american author James Fenimore Cooper, this project proposes a sculpture installation framed within the genre of utopian-island fiction. The book follows the literal rise and fall of a newly formed volcanic island, beginning with its colonization and concluding with the corruption of its founding principles and final sinking back into the ocean. Thus, this project holds as it's conceit the question: what if all historical utopias have been the same island rising and falling into the sea in an endless cycle./ Located in the terra nullius between the park's fence and the coast-guard patrolled water-line, the sculpture will make a land claim by the condition of occupancy. As The Crater's colonists made the island their property, so this work will make a home for itself. The shore will be subdivided and, at-least for a short time, a small parcel will be the territory of a provisional structure. It is made almost entirely of steel rebar as used in modern building construction. 

Exhibition: Float 09, 2009

Exhibition: Open Space: Pentti Monkkonen, 2009

Exhibition: State Fair, 2009

Exhibition: Open Space: Barbara Westermann, 2008

Exhibition: Open Space: Frances Trombly, 2008

Exhibition: Waste Not, Want Not, 2008

Exhibition: Float 07, 2007

Exhibition: Open Space: Deborah Fisher, 2007

Exhibition: Open Space: Michael Mercil, 2007

Exhibition: Open Space: Takashi Horisaki, 2007

Exhibition: L.I.C., NYC, 2007

Exhibition: Open Space: Coke Wisdom O'Neal, 2005

Exhibition: Float 05, 2005

Exhibition: Open Space: Jon Conner, 2005

Exhibition: Sport, 2005

Exhibition: Flicker, 2004

Exhibition: Open Space: Harrell Fletcher, 2004

Exhibition: Winter Light, 2003

Exhibition: Float 03, 2003

Exhibition: Open Space: Anissa Mack, 2003

Exhibition: Open Space: Jean Shin, 2003

Exhibition: Yard, 2003

Exhibition: View, 2002

Exhibition: Open Space: Joel Graesser, 2002

Exhibition: Open Space: Robert Blackson, 2001

Exhibition: Broadway Billboard: Bob Braine, 2001

Exhibition: Beyond City Limits (2001), 2001

Exhibition: The Space Around the Architect, 2000

Exhibition: Onceremoved, 2000

Exhibition: Ozymandias, 1999

Exhibition: 7,840,800 cu ft, 1999

Exhibition: All That is Solid, 1998

Exhibition: Escape Velocity, 1998

Exhibition: International 97, 1997

Exhibition: From the Ground Up, 1997

Exhibition: 10th Anniversary, Part 2, 1996

Exhibition: 10th Anniversary, Part 1, 1996

Exhibition: Pop Up, 1995

Exhibition: International 94, 1994

Exhibition: 50 NY 93, 1993

Exhibition: Full Life, 1992

Exhibition: Unbound, 1992

Exhibition: Grass Roots Art Energy, 1991

Exhibition: No Man's Land, 1990

Exhibition: Sculpture City, 1989

Exhibition: Sculptors Working, 1988

Exhibition: Artists Choose Artists, 1987

Exhibition: Outside In, 1987

Exhibition: Walk On/Sit Down/Go Through, 1987

Exhibition: Inaugural Exhibition, 1986

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