One journey covered 238,000 miles and ended successfully to rich acclaim. At the same time, after taking a wrong turn, another journey covered 4 miles and ended in death and national disgrace. SPLASHDOWN is the second in my Apollo trilogy and explores two American historical events bound together in time. Utilizing acquired imagery and filming miniature objects scaled to monumental size, I've created a metaphor for unpredictable rewards and consequences, and redefined notions of risk.
To create Contact, I used an inexpensive surveillance camera to record honeybees in a garden. Distorting the video and heightening the floral colors, I created a visually luscious landscape that elevates the mundane backyard activity of pollination to seemingly monumental proportions. I then layered the personal footage with scientifically and culturally significant audio and video recordings from early moon-to-earth transmissions. By bringing commonplace and historical events into direct contact with one another,I raise questions about how we select and edit certain pieces of information to build the stories we tell about ourselves.
As In Looping and Regret
As In Looping Rescue and Regret
Great Western Water Trick
GREAT WESTERN WATER TRICK intercuts issues around the politically tinged topic of water in the arid American west with the artist’s family history. With interviews of experts, friends and the artist’s brothers as a backdrop, the history of water in the west, as both asset and commodity, is viewed with both insight and humor.
Great Western Water Trick
Gray Zone is a poignant investigation of how culturally constructed opinions can become the standards by which people judge one another. The work attempts to explore the tendency of individuals to assume sexual preference about others based solely on superficial details such as appearance It is an intimate portrait of men discussing personal issues of sexual identity and specifically how “straight” men are compelled to communicate their sexual preference to other men. This narrative and didactic approach to art-making allowed me to present issues and concepts that were personally relevant when I made the piece over 30 years ago.
Too Perfect to Ignore
Disguised as a documentary, “Too Perfect To Ignore” explores the ways in which our knowledge of the past is dictated by the process of editing and curating. In other words, how a few select professionals dramatically affect the way we see history and ourselves. The famous photograph of the Marines raising the flag on Iwo Jima during World War II serves as example of this subjective editorial process.
Too Perfect To Ignore
As In Horizontal and Vertical Water
As in Horizontal and Vertical Water is a three channel video installation that addresses the physical states of water and the state of water as commodity in the American West.
The central channel shows a case of bottled water labeled with iconic snow-capped mountains, engulfed in flames. The contained water is transformed from liquid to explosive steam. Vertical water is represented not with a beautiful mountain waterfall, but at the outtake of a water treatment plant discharging its processed water into the South Platte River. Winter, spring, summer, fall, day or night, the volume of water is constant and cost effective. In the third channel, an Olympic speed skater slices rhythmically across frozen water, leaving the sound of metal on ice. The image splits and merges, the colorful patterns forming fluid forms of their own.
In As in Horizontal and Vertical Water, water is always on the move, even in its frozen state.