This is the debris left from my installation of The Life Instinct. People kept mistaking it for a sculpture! So when Marco suggested I go with it, it made perfect sense. After its transition from non-art to art status, people kept mistaking the it for trash, and a few people tried to clean it up. Love that ambiguity.

It also reminds me of this passage by Rebecca Solnit, from her essay Dirt. She discusses a letter-to-the-editor in her local paper addressing a bronze sculpture:

The letter pointed out that the ratio of disturbed earth to extracted copper is 364 to 1 and that therefore, somewhere out of sight, a considerable pile of tailings exists in conjunction with the sculpture. I am fascinated by this way of looking; by the implication that the meaning of the visible sculpture should incorporate that unseen heap…”

It is really hard for me to mentally separate an art object, the process of its making, and its by-products.

Head nod to ILSSA’s recent show at Saint Mary’s College. They asked their members to save the waste products of their art practice for a whole year, and then displayed that material:


ILSSA asked me to submit something on the theme of OLD/NEW for a publication in conjunction with their upcoming show at St. Mary’s College, and the next day I bought my first pair of new sneakers in 3 years. I’m sending them these rubbings.

As Many Hours As It Takes!

I first heard about ILSSA when I attended this Bad At Sports interview at Apex Art. I’m about to renew for my second year.

My work has always tended towards the labor-intensive. For Figment Fest in June, I hand-sewed a huge sculpture. The most common question people asked was “How long did this take you?”, sometimes accompanied by a look of concern.

It’s nice to belong to a community within which I don’t feel so crazy…and which has such exquisite, hand-printed membership materials!