Entropy is the general trend of the universe toward death and disorder.
~James R. Newman
~James R. Newman
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Sun Tunnels,' Great Basin Desert, UT, USA, 2016
One 36x24" Archival Inkjet Print
Six 10x8" Archival Inkjet Prints
One Art History book, jar of silt collected on site, plexiglass shelf
This work directly relates to the formal compositions of the original work by Nancy Holt and its orientation to the mountains in the far distance. In this work, the two images projected onto Holts' sculpture makes a connection to the landscape, the body, and sculpture. On the left, a torso mimics the anthropomorphic landscape that the tunnel obstructs, and on the right, a body becomes a reference for the sculpture itself, lying on its back in the desert.
One 36x24" Archival Inkjet Print
Six 10x8" Archival Inkjet Prints
One Art History book, jar of silt collected on site, plexiglass shelf
This work directly relates to the formal compositions of the original work by Nancy Holt and its orientation to the mountains in the far distance. In this work, the two images projected onto Holts' sculpture makes a connection to the landscape, the body, and sculpture. On the left, a torso mimics the anthropomorphic landscape that the tunnel obstructs, and on the right, a body becomes a reference for the sculpture itself, lying on its back in the desert.
"Sun Tunnels" by Nancy Holt, 1973-1976
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"Sun Tunnels" by Nancy Holt, 2016
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Right Projection Detail
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Left Projection Detail
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portraits with 'Double Negative,' Moapa Valley, NV, USA, 2016
One 36x24" Archival Inkjet Print
Two 10x8" Archival Inkjet Prints
Two 14x19" Archival Inkjet Prints
One Art History book, jar of soil collected on site, plexiglass shelf
This work engages with the relationship between endangered public art forms, the environment, and impermanence. The piece investigates both the mortality of the Earth and the body by visually merging the two. This work suggests a rethinking of Michael Hiezer's work, feminizing his controversially masculine gash in the earth.
One 36x24" Archival Inkjet Print
Two 10x8" Archival Inkjet Prints
Two 14x19" Archival Inkjet Prints
One Art History book, jar of soil collected on site, plexiglass shelf
This work engages with the relationship between endangered public art forms, the environment, and impermanence. The piece investigates both the mortality of the Earth and the body by visually merging the two. This work suggests a rethinking of Michael Hiezer's work, feminizing his controversially masculine gash in the earth.
"Double Negative" by Micheal Heizer, 1970
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"Double Negative" by Micheal Heizer, 1970
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"Double Negative" by Micheal Heizer, 2016
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Projection Detail
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Amarillo Ramp,' Amarillo, TX, USA, 2016
One 36x24" Archival Inkjet Print
Five 10x8" Archival Inkjet Prints
One Art History book, jar of red soil collected on site, plexiglass shelf
This work explores the relationship of entropy with the earth and the body by a literal merging of them in visual form. Amarillo Ramp was Robert Smithson's final work, finished posthumously by his wife, Nancy Holt. Smithson died in a plane crash a mere few feet from the site of this artwork.
One 36x24" Archival Inkjet Print
Five 10x8" Archival Inkjet Prints
One Art History book, jar of red soil collected on site, plexiglass shelf
This work explores the relationship of entropy with the earth and the body by a literal merging of them in visual form. Amarillo Ramp was Robert Smithson's final work, finished posthumously by his wife, Nancy Holt. Smithson died in a plane crash a mere few feet from the site of this artwork.
"Amarillo Ramp" by Robert Smithson, 1973
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"Amarillo Ramp" by Robert Smithson, 2016
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Projection Detail
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"Spiral Jetty" by Robert Smithson, 1970
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Install Shot
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Detail
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ENTROPIC FORCE: Body on the Salt Flat - Meditation on Robert Smithson at 'The Spiral Jetty," Salt Lake City, UT, USA, 2016
One Video 00:49, Dimensions Variable
3 10x8" Archival Inkjet Prints
One Art in America magazine, jar of salt collected on site, plexiglass shelf
The video documents an anthropomorphic piece of salty foam as it jiggles and glistens in the sun until its eventual disintegration into the wind. The images are of Spiral Jetty at sunrise, and a self portrait of the artist submerging into the foam that has washed up to shore, in an effort to make a "foam angel." Shot on location at Spiral Jetty.
One Video 00:49, Dimensions Variable
3 10x8" Archival Inkjet Prints
One Art in America magazine, jar of salt collected on site, plexiglass shelf
The video documents an anthropomorphic piece of salty foam as it jiggles and glistens in the sun until its eventual disintegration into the wind. The images are of Spiral Jetty at sunrise, and a self portrait of the artist submerging into the foam that has washed up to shore, in an effort to make a "foam angel." Shot on location at Spiral Jetty.
ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Desert Cross,' El Mirage Dry Lake, Adelanto, CA, USA, 2016
Two 16x24" Archival Inkjet Prints
This work explores the relationship between ephemeral art forms, mark making, mortality, site specific performance, and the notion of the "art document." Here, the artists revisits the original site of Walter De Maria's ephemeral work, Desert Cross, and disrobes to document the cross tattooed on her upper thigh.
Two 16x24" Archival Inkjet Prints
This work explores the relationship between ephemeral art forms, mark making, mortality, site specific performance, and the notion of the "art document." Here, the artists revisits the original site of Walter De Maria's ephemeral work, Desert Cross, and disrobes to document the cross tattooed on her upper thigh.
ENTROPIC FORCE: Somewhere Looking for the End of That Long White Line - Self Portrait with the Ghost of Walter De Maria, HWY183, Rising Star, TX, USA, 2016
Three 13x19" Archival Inkjet Prints
This series is a homage to Walter De Maria's photographic calculations of distance, time, and space in relation to nature. This work also functions as an attempt to acknowledge the profound impact De Maria's artwork has on the artists' aural and visual art practice.
Three 13x19" Archival Inkjet Prints
This series is a homage to Walter De Maria's photographic calculations of distance, time, and space in relation to nature. This work also functions as an attempt to acknowledge the profound impact De Maria's artwork has on the artists' aural and visual art practice.