Upper wall: Untitled, 2013, bent aluminum sheets, thirteen parts composed of two 8.75" x 17.5" sheets, each part catches the light differently. Bends are at 15° intervals. Lower wall, Different But The Same, 2008, square carbon fiber extrusions, six parts, each 36 x variable x 12 in. The modular extension of a two dimensional pattern into the third dimension. Each piece is a loop. Platform from left: Untitled, 2010, one-Eighth sizebasswoodmodels of four nine foot high structures. Four drawings, 2013, Drawing From Photography(a remembrance), graphite and acrylic fixative on paper. Photographs: David Allison.
Wall Left: Untitled, 2015, 10 ft. diameter, inkjet prints mounted on board. Photographs of bent aluminum sheets in the form of a 24 hour clock. Wall Right: Three Equal Rectangles Defining Three Equal Squares, first version, 1996, 67.25 x 176 in, 1 inch gaffer tape. The title preceded the work as a problem which might or might not have a solution: It did, and 20 years after its solution by trial and error it was discovered that the rectangles and all meaningful dimensions in the piece were part of the same fibonacci series. Floor: Twist, 2011, paint on plywood, three parts each approximately 18 inches long.
Wall left: Three Equal Rectangles Defining Three Equal Squares, second version, 2016, 67.25 x 176 in, jute twine in three colors. Wall right: Untitled, 2016, two bent steel rods.Platforms left: Untitled, 2010.One-Eighth sizebasswoodmodels for a series of nine foot high structures.
On Wall: Untitled, 2016, 1/8 in. bent steel rod, each U section 2 ft. on a side. Against wall: Untitled, 2016, three paintings each in two sections (preliminary studies), vinyl paint on canvas. On platform,Presidential Material, 2017, lead sheet covered in plastic cling wrap, three sections, each 18 x 36 In.
Same but Different (Angeli), 1995, paint on plywood, height 24". The same object rotated. Developed from the chance mating two unrelated studies.
Untitled, 2005, proposal, four lengths of timbers with painted areas of the same four lengths arranged in four groups. The paint determines the number, grouping and arrangement of the timbers. Scale large but undetermined.
Object into Symbol, 1999 – 2012, Paint on aluminum panels, 5.33 x 31 ft: each panel 1 x 2 ft. An arrangement of all the shapes between a rectangular and cruciform shape that can be made by adding or subtracting corner triangles. In 2012 show "Figures and Grounds" at The Arts Club of Chicago, guest curator Anne Rorimer. This was conceived as a purely aesthetic object but turned out to have the curious 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 change the order or orientation of several panels.
Three Dimensional Work
Nine by Nine by Nine, 2012, 1 x 1 in. hard maple. A 9 ft. 1 in. cube defines its outer limit. One of a series. In 2012 show "Figures and Grounds" at The Arts Club of Chicago, guest curator Anne Rorimer.
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.
Adding Machine, 1990, painted metal, length approximately 8 ft. Proposal for piece with two parts that can be arranged in different ways.
Water Water (two versions), 1990, water and clear acrylic plastic, longest dimension of each part would be approximately three feet. Studies for pairs of identical divided boxes with equal amounts of water in different sections.
Sandboxes, 1991, wood and sand, approximately 8 feet long. Study for boxes prevented from tipping by their contents.
3 PART TRAPS, c. 1992, study for two groups of three objects with the following properties: 1/ All the objects are of equal volume. 2/ One object in each group is a cube. 3/ The tops and bottoms of all objects are squares. 4/ The sides of the squares are proportioned thus: a / b = b / c. 5/ Starting with the cube, the objects in one group elongate, in the other flatten. 6/ Each group fits exactly inside an imaginary cube. Height of tall object 36". Ideally material would be solid and homogeneous making all the objects the same weight. The title is palindromic.
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 (To L and Back), 1991, Proposal for large metal sculpture, size undetermined. Form as content.
Horizontalism, 1990, welded metal, proposal, approximately 2 x 8 ft.
Double Wedge, 1994, material and size undetermined but solid and minimum 6 feet long.
Proposed projects that would use primarily glass or acrylic plastic. They were done between 1993 and 2017.
Untitled, 1993, 7 x 14 ft. Three transparent panels, two opaque 8 inch deep wedge shaped panels.
Untitled, 1993. Arrangement of three 7 x 7 ft. transparent panels. A corner of the left panel touches the wall, right panel leans away from the wall buttressed by the middle panel which is free of the wall and in turn buttressed by the left panel. All three touch at a point.
Untitled, 2014, 84 inches high. Three clear panels, two with delineated edges.
Untitled, 2015. Corner work with two 5 x 7 ft. transparent panels each with a delineated edge.
Untitled, 2015. Two 5 x 7 ft. transparent panels meeting at a vertical edge — the floor is the reference plane for one, the sloped surface for the other.
Untitled, 2017, height 84 inches. Two clear panels each with a delineated edge and a black reflective panel.
Untitled, 2017, height 84 inches. Top: view from front. Bottom: view from right. Two free-standing clear panels, each with a delineated edge, joined to form a screen in front of a black reflective panel.
Untitled, 2017. Black and transparent panels, 4 x 8 ft. each
Untitled, 2017. Black and transparent panels, 2 @ 4 x 8 ft., 1 @ 5 x 8 ft.
Action at a Distance
In a 1935 thought experiment, Einstein called a prediction of quantum theory that was forbidden by relativity “spooky action at a distance”.* For this series the phrase "action at a distance" was used to point out the strangeness of its objects, their linear elements acting as lines of transmission, connection and restraint.
They were not so much developed as presented in imagination, one at a time. Invariably they formed outside awareness and suddenly revealed themselves as images of ready-to-build objects of surprising simplicity and variation. A few sketches, and photographs of models are at present (2019) all that exist. If built they would appear at once as material objects. But their origin points elsewhere, finessing their physicality
These works could be seen as a counterpoint to Richard Serra's massive monadic steel blocks, forged in the bowels of industrial capitalism and deposited in art venues and public spaces around the world. To my mind his most revealing and thus interesting work.
*Apparently the paradox of action at a distance was resolved in 1964. It survives but with much of its mystery intact.
Untitled, 2012, 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, 2012, two red glass triangles attached to metal tubes. Each approximately ten feet long. Proposal from series Action at a Distance. Example of one possible arrangement.
Pole Prop, 1990, metal bars welded to 4' x 4' metal plates. Proposals from series Action at a Distance.
Not What You Think, 1990, timber inserted into metal boxes, approximately twenty-four feet long. Proposal from series Action at a Distance.
Untitled, 1990, wood timbers, approximately thirty feet long. Proposal from series Action at a Distance.
Unititled, 1990, concrete cylinders cast around a rigid steel bar, approximately 25 to 30 ft. long. Proposal from series Action at a Distance.
Radius, 1990, wood timbers, approximately twenty five feet long. Proposal from series Action at a Distance.
Bier, 1990, wood timbers, approximately twenty five feet long. Proposal from series Action at a Distance.
Untitled, 1990, wood timbers, approximately twenty five feet long. Proposal from series Action at a Distance.
Two Dimensional Work
All About Color, 2008, gouache on cardboard, three panels, each 20 x 20 in. Equal areas of color change position.
Untitled, 2016. Two paintings each with two 10 x 20 in. panels, vinyl paint on canvas. Examples from larger series.
Untitled, 1988 - 2010, Study for work on wall, size variable.
Is You Is Or Is You Ain’t My Baby? 2008/2015, 67 x 140 in. Inkjet print. Can be of unlimited size and scale. Six colors and four text orientations were combined randomly for each position in the grid. Text from 1944 Louis Jordansong.
Put Out the Light, 2006/2010, proposal for large scale inkjet print on panel. Size and proportion can vary.
It Will Burst Into Flames, (study) 2013, two sections, each 18 inkjet prints @ 7.5 x 10.75 in, central images silkscreen on wall. This is the third version — first was shown at the Onetwentyeight Rivington Gallery in December 2001, the second in a show at The Arts Club of Chicago in March 2012, the third at the Schelfhaudt Gallery, University of Bridgeport 2015. The first version was developed in the immediate aftermath of 9/11 from earlier work. Text from poems of Wallace Stevens.
Works on Paper I
One Stick of Charcoal Shaved and Roughly Sorted, 2011, charcoal and oil pastel on paper, 10 x 10 in. Part of a graduated series of five from large to small shavings.
Graphite Blown by the Artist Onto Prepared Paper, 2011, graphite and oil pastel, 10 x 10 in. Part of a graduated series of six from dark to light.
Drawing Made From the Back, 2011, charcoal, oil pastel on paper, 10 x 10 in.
Ash From Charcoal Burned Over Wet Paper, 2011, charcoal stick, water, 10 x 10 in.
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.
ESSE, 2008, inkjet print on paper, 22 x 30 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.
Times Triptych, from The New York Times Magazine, December 6, 1992, 12 x 29 in. Front and back cover and fold-out. First in a series of fifty examples of 'irregularities' from the New York Times, 1992 to 2017.
Wittgenstein Quote Doing What It Says,from series Six Part Ephemera, 1988-1995, typescript on paper mounted on board, with frame 14.75 x 11.75 in.
Flaubert, 1992/2008, inkjet print on paper, size variable. Afterimages complete the work. Study for possible painting.
Works on Paper II
Untitled, 2010, pastel, oil pastel, charcoal on paper, 8.75 x 13.5 in.
Untitled, 2012, graphite, charcoal, oil pastel on paper, 8.75 x 13.375 in.
Drawing From Photography (a remembrance). Three drawings from a series, graphite and acrylic fixative on paper, each 20 x 28.5 in. The way they were "developed" is analogous to traditional photography; the images remained hidden until the end of a methodical process. Top: August 11, 2013–3. Middle:October 16, 2013–1 Bottom:October 16, 2013–2.
Untitled,2010, pastel, oil pastel, powdered pigment, graphite on paper, 8 x 10.25 in.
Untitled, 2010, pastel, fixative on paper, 8 x 10.25 in.
Untitled, 2010, pastel, oil pastel, powdered pigment, graphite on paper, 8 x 10.25 in.
Fixative Drawing 59, 1974, fixative, charcoal, pastel on paper, 8 x 8 in.
Fixative Drawing 33, 1974, fixative, charcoal, pastel on paper, 8 x 8 in.
Fixative Drawing M5, 1974, fixative, charcoal, graphite, pastel on paper, 8 x 8 in.
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.
WTC Memorial Design: Early Proposal. 1990-2003
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.
WTC Memorial Design: Early Proposal. 1990-2003
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 organization of their placement.
WTC Memorial Design: Early Proposal. 1990-2003, Three Views
WTC Memorial, Late Proposal, 2004. Plan
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.
WTC Memorial: Late Proposal, 2004. View to SW
The site would be surrounded by an evergreen hedge.
WTC Memorial: Late Proposal, 2004. View to S
Black metal screen walls would be one tenth the height of the towers (136 feet).
WTC Memorial: Late Proposal, 2004. View to N
The interior of the memorial would be entered counterclockwise through ten foot wide perimeter passages.
WTC Memorial: Late Proposal, 2004. View to NW
A reflective white tower one tenth the scale of the original towers would be at the center of the interior.
WTC Memorial: Late Proposal, 2004. View to N
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.