I’m calling these pieces Temporal Sculptures. The intention is to create sculpture for a moment in time, document and then take it apart, breaking it down to it’s raw materials and then returning those raw materials to their place of origin. In this case the supplies would be sourced from a building materials outlet and then hopefully returned to that source for resale. This might not be practical or logistically doable, but it’s the lofty ideal. Part of the reason for this approach is economics and part is to impose limits/restrictions. If this work does get mounted and it’s successful I can augment the process to include manipulation of the raw materials. I can cut, drill, break, affix, and paint the sculptural medium. This will open the work to myriad new forms. For the time being I’m planning to impose rigid guidelines on the way I handle the material.
Currently I’m focused on two main projects, one created from a skid of common 8 foot 2″ x 4″ or 2″ x 6″ studs, and the other from a skid of 4′ x 8′ plywood sheets.
I think of these works as performance, sculpture and film/photography. The performance is the process, the manufactured object is the sculpture and the record of both would be film/photography.
At this juncture I’m still experimenting with the models which were constructed at 1″ scale using basswood sheets that were cut to resemble the studs or plywood sheets. These are not the cheapest models but building them has been VERY enjoyable so I plan to get more material over the next weeks and employ a more accurate way of cutting. Up until now each piece has been cut with a utility knife. Each piece requires about 10 slices of a very sharp blade. This leads to some inaccuracies and I think I can get much better/cleaner results if I employ my power miter saw and a 90 tooth, 10″ blade.
This project started in my 2007 performance of The Task at Nuit Blanche in Toronto, and this subsequent work carries on in the same tradition.
For this work I’m thinking about labour, repetition, work, sculpture, natural resources, gentrification, progress, building, construction, environment, sustainability, economics, negative space, gallery presentation, gender politics, aging, and conceptual arts historic importance. There’s also a regional assumption happening as the material I plan to use is typically North American in nature.