The Confounding Variable
The Confounding Variable included 14 new paintings and two new kinetic sculptures. The work is wide-ranging in source material and medium with three-dimensional wall hangings sharing close quarters with traditional oils and assemblage work. Industrial resins sit next to and on top of rustic textiles, metal and wood. Surfaces are in turn breached and pristine. With so many varying elements, a uniformity of scale, pallet and content works to tie it all together.
The kinetic sculptures use motion, video projection and a wide range of materials to create complex, but cohesive systems, something like indirect time-keeping devices. In Phase, two evolving gray-scale files, one projected, one on a surface monitor, of different lengthg, play off A rotating orb with finger-like protrusion and bent wire as clock hands. These three factors, combined with the changing ambient light of the space, create complex combinations of events that rarely, if ever, appear together at the same time. Stalker combined footage from Tarkovsky’s film of the same name, with an evolving ambient video to create another “time system”. The footprint of this one was a small room constructed of hardware wire and strapping tape, creating a scale that implicated the viewer’s own biological and behavioral cycles in the installation.