"The White House" 1995 40'x52'x20', exterior
I think I always wanted to do environmental sculpture, something big enough to walk through, but it only became possible when I moved to the high desert of Joshua Tree eight years ago. I also wanted to devote some serious thought to the idea of sculpture: actually what is sculpture other than a three dimensional work of art. The first piece I built was a box-like structure made of 3/4" water pipes welded together and measuring 6x2Ox24 ft. My objective was to cure the tendency to copy Mondrian, what I call the "Mondrian straight-line syndrome" with organic sculpture. I have also been experimenting with the idea of sculpture-with-in-a sculpture (S-W-I-S). In Collage, a 30x60 ft patch work piece. I applied the S-W-I-S concept using a lot of toilet bowls, one of the free commodities accessible in this desert recycling community. In Shelter, a 30x 40 ft. 2-story structure, there's not a straight line anywhere to be found. I started the White House in 1990 and completed the piece in 1993. I wanted to build a large structure to house rotating exhibitions but the building inspector came along and I had to remove the walls and ceiling and lower the floor two feet. So the White House houses different installations.
My resource for doing art is unlimited. Everything I see, look at, contemplate or get involved with gets interpreted as an aspect of art. Because of the extreme climactic conditions in the high desert, it has been interesting to watch the pieces as they weather. I recognize nature as an intricate part of the creative process. During my eight years here, I have found my need to loosen up ( straight line syndrome), to further develop the S-W-I-S concept because it may be the center of some growthg possibilities. The adaptation of S-W-I-S as a tool for making art has allowed me, for the first time, to work at my own pace without feeling that a "work in progress" was just an excuse to procrastinate. It also enables me to work on several pieces at a time and admit that otherwise I would be extremely bored. I no longer feel guilty if I copy after myself. I am more confident in my choice of materials for outdoor sculpture ( rags and old clothing) where I previously had doubt. After my experience with one major piece that "took over' to become something else, my fear of not being in control has greatly dissipated with the realization that there are multiple possibilities, that instead of the results being catastrophic, the exact opposite may occur.
My work from the 60s, 70s and early 80s consists mainly of collages and assemblages using found or constructed objects to create a piece in which the original identities of the objects are integral to my aesthetic statement. For me objects are art forms in and of themselves and should not be tampered with. My choice of materials grows out of my lifetime interest in the mystery and the magic of relationships. With some pieces I have no idea in mind and the piece takes over and starts out in its own direction. Sometimes it's more fun to start out with no idea, except you may be disappointed in what you get. I have not yet looked too deeply into what really happens in the take over process . I believe it has something to do with the creative process as related to the synthesis of the intellect and the sensibilities.
1997
"The White House" 1995 40'x52'x20', exterior
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"Untitled", 2000
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Overview
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