With the start of a new year, I began reflecting on the projects that I have created recently. The impetus for the large-scale works completed in Grand Rapids, Tucson, Beijing, and Miami was Allotropisms, a 65-foot site-specific sculpture suspended from the ceiling of the Cristin Tierney Gallery at 546 West 29th Street in New York City. That show opened three years ago today.
To celebrate this landmark in my career, I am sharing never-before-seen photographs of the installation. Thanks to everyone who has helped me along the way and cheers to a new year full of new challenges!
As you can see, it took three assistants to help me navigate the grid, fill paint buckets, and scoop up the excess paint that fell on the floor. From start to finish, the paint pouring process took about three days starting from the bottom and working our way to the top.
Before I go into the details of how I create a work, I would like to give you a background on my previous artistic endeavors.
My work exists at the intersection of art, architecture, fashion and design. My forms are surreal and my materials are simple in the tradition of Frederick Kiesler and Buckminster Fuller. I make large-scale installations and small scale sculptures. My interests lie in exploring environment, light, time and space via geometry.
Allotropisms, 2011. Photo by Marc Lins.
My most recent work entitled Allotropisms was my most ambitious project to date measuring fifteen feet high and spanning a length of sixty-five feet at the Cristin Tierney Gallery in New York City. My preparation for this work took about three months in which I created a scale model with precise measurements from the space using the existing architecture as my inspiration and my base. With a team of two assistants, the installation of Allotropisms – from the wooden latice to the lighting – took three weeks.