Sculpture

Sculpture

I studied sculpture while pursuing my undergraduate degree at Alfred University. The material culture there is quite extensive, however an initial impetus for my transition away from traditional sculpture was the amount of ecological damage being done to facilitate these material processes. Working primarily with glass and ceramic materials I began to consider ecologically their problematic qualities when harvesting of the raw material, the processing of the raw material to make work, and the ultimate disposal of the associated waste. It is from this that I began to reject the object entirely and begin a socially engaged process.

In the background of my newly emerging practice, I was still investigating ways to make work using objects that are considered to be waste by our society at large. Through this practice I have been able to gently maintain my interest in the manipulation and creation of physical objects to be considered through a conceptual lens. Whether that be by the aesthetic facade of the object and/or the context from which the object was generated.

I continue to collect material that interests me, however I generate much less content from a personal studio practice. I continue to use this method of making frequently in my socially engaged work, especially in my work with young people, as it is innately accessible to anyone, and when created continues to reference the contextual relationship I have generated in my own practice, and our material culture at large.

New Work

Having finished graduate school I am beginning to reactive a materials and object based practice. I am making new work based on ideas I have deep conceptual, cultural, and historical fascination with. Premises I have worked in social relationship to for many years, approached from an old and new perspective.

Early Work

My early practice was primarily sculptural, however my work has always leaned heavily on meaning, concept, and nature of existence. I developed a practice using mostly waste or found objects to make primarily wall mounted artworks that had some type of conceptual narrative.

Please Handle With Care

The objects selected to be in this body of work were collected, protected, and carried with me throughout my time at Oceti Sakowin, the prayerful resistance camp in Standing Rock North Dakota. I chose each carefully as it spoke to me during the moment of collection.The body of work practically made itself, as I slowly unbundled each piece they spoke to me once more. They told me their names and how they wished to be shown to the world. I made not the objects but merely helped them feature themselves.

I worked on this show in March of 2017 at Signifier Signs, a friend George Vidas’ neon studio. While working on the show I saw a stencil he had for packaging things to ship out. PLEASE HANDLE WITH CARE the stencil read. I took a moment to reflect on my managing of these objects, and how what I was doing was sharing these pieces as part of an experience that was shared with many. The name of the collective work is meant to remind viewers that this content reflects upon a single experience within the larger shared experience of over a thousand water protectors. 

The works are referential to a culture that is not mine to claim, however I was encouraged to bring my experience home in order to share it with others. So, be reminded, handle this experience carefully, as it is meant to last for many generations beyond our own. Mni Wiconi.

Photos by John Willis

2017

Playing With Dead Things

A series of work I made post my time at Standing Rock while visiting the town of Alfred. I was grappling with some dark feelings while hiking in the woods and came upon many dead crow carcasses. The crows would roost in the woods near a cow pasture at night and many of the old crows died. The allegory meant a lot to me at the time.