Upper wall: Untitled, 2013, 13 pairs of aluminum sheets bent at 15° intervals. By design each pair catches the light from the window differently. Lower wall, Different But The Same, 2008, square carbon fiber extrusions, six parts, each 36 x variable x 12 in. The modular expansion of a two dimensional pattern into three dimensions. Platform from left: Untitled, 2010, one-eighth size basswood models of nine foot structures. Photographite, 2013, graphite and acrylic fixative on paper. Photograph: David Allison - June 2014.
Top wall: Untitled, 2011, acrylic on aluminum. 8 panels, 24 x 17 in. Every proportion is the same: the painted rectangles, the panel shapes and groups of two, four and eight panels. Bottom wall: Untitled, 2019, Flashe vinyl paint on Sintra Board. Work rotates and alternates tint between positions. Platform: Six ideas in a 6 x 6 inch format, various materials, conceived and made 1990 to 2019.
Object into Symbol, 1999 – 2012, paint on 27 aluminum panels, 5.33 x 31 ft: each panel 1 x 2 ft. An arrangement of all the shapes between a rectangle and a cruciform shape that can be made by subtracting corner triangles. This was conceived as a purely aesthetic object but was found to have the mathematical property that every significant numerical relationship in it can be expressed by the term (3 to x power + 3 to y power). This discovery will result in minor adjustments to future installations. In 2012 show "Figures and Grounds" at The Arts Club of Chicago, guest curator Anne Rorimer.
Untitled, 2017, Two sizes of off-the-shelf canvases, Flashe vinyl paint. Arranged to catch the horizontal light from a window.
One Stick of Charcoal Shaved and Sorted, 2011, charcoal and oil pastel on paper, 5 @ 10 x 10 in. A graduated series from large to small shavings.
Same but Different (Angeli), 1995, paint on plywood, height 24". The same object rotated. Developed from the chance mating two unrelated studies.
U-turn, 1994, metal, proposal. Each object rotated on both its horizontal and vertical axes to form the next position. Each approx. 6 ft. in length.
Art Glass 5, 1993, four glass sheets @ 84 x 84 inches. Proposal.
Art Glass 1, 1993, two glass sheets @ 84 x 84 inches, one on the floor, one on a sloped platform, meeting at an edge. Proposal.
Untitled, 2014, 84 x 60 inches, two glass sheets with black stripes on one edge. Proposal.
Untitled, 2014, 60 x 48 inches, two glass sheets with black stripes on one edge. Proposal.
Untitled, 2017, size TBD, series with six glass sheets, three with black stripes on one edge. Proposal.
Untitled, 2014, 84 x 96 inches, one clear and two black panels. Proposal.
Untitled, 2014, 48 x 144 inches, one clear and two black panels. Proposal.
Untitled, 2010, five glass triangles attached to metal tubes. Each approximately eight feet long. Proposal from series Action at a Distance. Example of one possible arrangement.
Untitled, 2013, 14.75 x 6 inches, stainless steel ball chain and rayon tissue.
The focus of these works is on the space between the objects and the wall or the objects and the room. The blankness of the wall and the purposeful ambiguity of the objects creates a sense of spacial warping and tension.
Untitled, bent steel wire on wall, 2013, 20 x 25 x 4 inches.
Untitled, bent steel wire, 2015. Six identical objects paired into three groups. Three dimensional appearance and three dimensional reality are misaligned. Wall space required approx. 12 feet.
Untitled, bent steel wire, 2018. 12 inch ‘U’ shapes paired into four groups. Wall space required approx. fifteen feet.
Untitled, 2020, seven sections @ 9 x 9 inches by variable, bent steel wire.
Untitled, bent steel rod, 2018, 84 x 84 x 60 inches. Study for proposed work.
Untitled, bent steel rods, 2018, 84 x 168 inches. Study for proposed work.
Untitled, bent steel rod, 2018, 84 x 84 x 24 inches. Study for proposed work.
Untitled, bent steel rod, 2019, 84 x 84 x 100 inches. Study for proposed work.
Untitled, bent steel rods, 2018, two parts each 84 x 84 x 32 inches. Study for proposed work. The vertical part has the same relationship to the wall as the horizontal part has to the floor.
Untitled, bent steel rods, 2019, two parts 84 x 84 x 42 & 32 inches. Study for proposed work.
Untitled, 2020, Proposal. material TBD, height, approximately 8.5 ft. One of a series.
When successful, idea, form and substance are inseparable. Titles can sometimes be integral to the work.
Untitled, 1991, Proposal for large metal sculpture, size undetermined. Form as content.
White Wedges, c.1988, Left: paint on plywood, 1.5 x 5 x 2”. Right: c.1988, plaster, 2 @ 1.1 x 4.1 x 1.5”.
Untitled, 1991, wood or painted metal, length approximately 8 ft. Views of opposite ends of a proposed two part piece. Sliding the sections past each other reverses the end patterns.
Horizontalism, 1990, welded metal, proposal, approximately 2 x 8 ft.
Double Wedge, 1994, material and size undetermined but solid and minimum 6 feet long.
Left: Long for You, 1989, basswood, 8 x 4 x 4 in. Right: Kiss Kiss, 1989, basswood, 4 x 4 x 4 in. Boxes containing themselves.
Untitled, 1988, graphite on wood and wall, 48 in. long.
Untitled, c.1990, tinted basswood - graphite on wood and wall, 8 x 8 x 3”. Study for proposed larger work.
Untitled, graphite on basswood and wall, c.1990, 16 x 25 x 3 inches.
Is You Is Or Is You Is Aint My Baby?, 2018, 58.6 x 112 inches, inkjet print on paper mounted on panel. Six colors and four text orientations were combined randomly for each position in the grid. The digital file from which this print was made is editable, allowing limitless variations. Title of 1944 Louis Jordan song.
All About Color, 2008, acrylic gouache on art board, mounted on PVC panel. Three panels, each 20 x 20 in. Equal areas of color change position
Triangles By Thirds, 2016, 6 panels @ 39.5 x 60 inches, oil medium on paper. Greatly enlarged details taken from a design containing three triangles, each a different density of yellow. The details are continuous across the horizontal joints and discontinuous across the vertical joints.
Six Lines Defining Three Equal Squares, 67.25 x 176 in, 1996 (installation 2015), 1 inch gaffer tape. Not until 20 years after its solution by trial and error, was it discovered that this piece incorporates the fibonacci series. One of three versions.
Untitled, four part painting, 2016, 20 x 64 inches. Line placement determined by the shape of the canvases. Flashe vinyl paint on canvas.
Untitled, two part painting, 2016, 18 x 40 inches, Flashe vinyl paint on canvas.
Untitled, two part painting, 2016, 10 x 40 inches, Flashe vinyl paint on canvas. From a larger series.
2013 proposal. Painted areas on the surfaces of a room are projections of an imaginary object in the space. A viewer would be able to sense the presence and location of the object from the projections. Many variations of this idea are possible. Top diagram: projections parallel to walls, Bottom diagram: projections at 45 degrees to walls.
Untitled, Summer 1974, pastel, fixative on paper, 18 x 18 inches.
Untitled, Fall 1974, Pastel, graphite, charcoal, acrylic fixative on paper, 8” x 8”. Pastel was rubbed into the surface of the paper. This was hidden by a layer of graphite powder with charcoal added to flatten it. Next a horizontal graphite line was drawn. This became metallic from the graphite in the background. Lastly a vertical line was erased to reveal the surface of the paper colored by the pastel.
Untitled, 1977, graphite on paper, approx. 7 x 10 inches.
Random Walk, 1979, graphite and color pencil on graph paper, 6 x 6 in.
Everlasting Overlapping, (study), 1989, graphite and color pencil on paper, 11 x 14 in.
Untitled (For KM and KM), 1991, Installation ONETWENTYEIGHT Gallery. Right: painted tile joints, left: print of floor, watercolor on paper, 120" x 80". Floor print was made after show closed, briefly completing a hexagon.
ESSE, 2008, inkjet print on paper, 22 x 30 in.
Untitled, 2010, pastel, oil pastel, charcoal on paper, 8.75 x 13.5 in.
Untitled, 2010, pastel, oil pastel, charcoal on paper, 8.75 x 13.5 in.
Graphite Blown by the Artist On To Prepared Paper, 2011, graphite and oil pastel, 10 x 10 in. Part of a graduated series of five from dark to light.
Ash From Charcoal Burned Over Wet Paper, 2011, charcoal stick, water, 10 x 10 in.
Photo/graphite, 10.09.13-2, 2013, graphite and acrylic fixative on paper, 20 x 28.5 in. From a large series. The drawings were ‘developed’ in a way that mimicked traditional photography: The images remained hidden until the end of a methodical process.
Seer Immured, 2015. Life-size cutouts from digital prints of Noam Chomsky’s hands. They were applied directly to a wall. Images are screengrabs from an online interview.
Put Out the Light, 2006/2010, large scale inkjet print mounted on panel or directly on wall. Can be of unlimited size and extension.
Flint Michigan, 2019. Drinking glasses, water, lead. In 2016 it was discovered that lead had contaminated the Flint drinking water as the result of a 2014 change to a less costly water source. This situation is ongoing.
Age of Lead, 2017, 17.75 x 35.5 inches, three lead sheets layered.
Night Thoughts, 4 x 4 x 4 in. 1993, Japan paint on basswood. The rectangle is the same area as the squares.
Times Triptych. The New York Times Magazine, December 6, 1992, 12 x 29 in, front and back cover and fold-out. Start of the series Bad Times with fifty examples of 'irregularities' from the NYT, 1992 to 2017.
Burning Grids, 2011, 123.75 x 40.5 in, pastel, oil pastel on paper. Grid of 27 drawings.
Tiananmen, 1989, Proposal, 2010. Glass, metal tubes. Each of two approximately eight feet long.
Bad Weather, 20 Jan. 2017, 12:00 PM. Third of a sequence of five inkjet prints. It shows rain reaching the Capital building as Trump’s swearing in began. Many sources confirmed this, he denied it. Image is an accurate depiction of information captured from real time weather radar. Edited for clarity.
Two proposals for the World Trade Center memorial. The first originated as a response to the bombing of Bagdad that opened the 1990 gulf war. The design was completed pre-9/11 except for scale and location. The second was designed specifically for the WTC memorial and substantially completed before the first round of the competition which selected eight semi-finalists. It was finished before the winning proposal was chosen. Neither project was submitted in the completion.
Four large steel plate structures would be located on a featureless plaza except for the outlines of the towers marked in the pavement. The structures would be composed of the same three elements arranged differently: two squares at right angles to each other and a rectangle on the diagonal of a square. Each structure would be approximately 40 to 50 feet high.
Siting: The right angle between the two squares in each structure would be aligned with a corner of a centrally located imaginary square the size of the tower outlines. From this position the structures would be tipped along an edge or two corners into another position, obscuring the underlying geometry of their placement.
Four interleaved L shaped screen walls with sides the width of the WTC towers (2O8 feet). The outlines of the absent towers marked in the pavement.
The site would be surrounded by an evergreen hedge.
Black metal screen walls would be one tenth the height of the towers (136 feet).
The interior of the memorial would be entered counterclockwise through ten foot wide perimeter passages.
A reflective white tower one tenth the scale of the original towers would be at the center of the interior.
The tower, like a gnomon, would trace the passage of time. Its upper surfaces would reflect the surrounding buildings and the sky, its bottom the visitors against the black walls. It would bounce sunlight into the shadows.
