I. There is a fine “jury-rigging” to it, a history of pairings of objects and materials that exist in a suspended timeline; a tool without purpose other than to show its deeds. Whether that be an agent of the state marking a target on your back and ripping you open or the laborious nature of the materials themself. Violence is not the right word. It is the ephemera of it.
II. The exterior cannot exist without consideration of the interior. I think often of Judd and Morris, not because I take after them but because of what they lacked. “Minimalist” work often presents itself as nothing other than what it is, and what it is does not consider the inside. Rather than exemplifying the grandiosity of the complete work itself, I focus on the components and how they interject (or harmonize or attack) each other. How the inside of one interacts with the outside of another. I want to talk to Purifoy, Mel Edwards, Tetsumi Kudo, Grosvenor, and seas of kipple.
III. The components existed in many timelines. I see paper pulp as a convoluted jumble of different histories. It is shredded from documents, food packaging, notes and receipts, which at a point before then were something else entirely. The fibrous pulp that each piece forms into carries the history of what it was before. Cast iron, pulps material opposite, is put through the same process of transformation. Radiators, bathtubs, sinks and toilets are smelted into components to exist with the others. Twin histories between the pulp and metal. Reflecting the utilitarian uses behind them. Neither are sacrosanct.
IV. I think about the spaces in between, the binding and the pulp and the joints and clots, a labyrinth of implied (dis)function.
Born in 1999, Boston Masschusetts
Lives and works in Boston, MA