While in Austerlitz, NY, the location of the Millay Colony and Edna St Vincent Millay's Steepletop Estate, the forested environment was mountainous and felt remote. However, evidence of human intervention was always present, in the conduits, pipes, and channels built to direct water through the countryside. Responding in my studio, paint collection platforms were designed to capture paint directed down a series of conduits. The white ground and black paint are meant to create a 3D drawing.
Paint Collection Platforms, video documenting pour
found material: cardboard, sticks, paint, drafting table
9' x 9' x11'
During the summer of 2013, I participated in two residencies: the Millay Colony and the Constance Saltonstall Foundation for the Arts, both lasting for approximately one month, both situated in remote wooded areas in upstate New York.
Adjusting to each new place, I took advantage of the impressions and experiences of the new situation, including the studio, the estates, the surrounding landscape, and the materials at hand (sticks, cardboard, discarded plastic) to construct site-related installations that also included time-based and performative aspects.
In Austerlitz, NY, the location of the Millay Colony and Edna St Vincent Millay's Steepletop Estate, the forested environment was mountainous and felt remote, however the existence of human responses to the topography were almost always evident, usually in relationship to the mountain streams running through the region. Responding in my studio, paint collection platforms were designed to capture paint directed down a series of conduits.
Adjusting to each new place, I took advantage of the impressions and experiences of the new situation, including the studio, the estates, the surrounding landscape, and the materials at hand (sticks, cardboard, discarded plastic) to construct site-related installations that also included time-based and performative aspects.
In Austerlitz, NY, the location of the Millay Colony and Edna St Vincent Millay's Steepletop Estate, the forested environment was mountainous and felt remote, however the existence of human responses to the topography were almost always evident, usually in relationship to the mountain streams running through the region. Responding in my studio, paint collection platforms were designed to capture paint directed down a series of conduits.