An exploration of the geometry of the Dymaxion globe² and Durer's solid³. Each form was extrated from its pictorial–space and the built into two sculptural interior spaces. The transformation from image, to object, to space; or rather, a "lack", leaves the support exposed. Pulling itself up by its own bootstraps, the support for the work is the work.

A prepratory piece for A space with room (for a lack); Durer's solid. The elusive solid is removed from Durer's Melencholia I leaving a white 'lack' surrounded by the dense lines of the engraving.

On July 4, 2010 wikifesto.info was launched. See: Toward a Wikifesto for more information.

This chart accompanied the reading of a text, a compilation of information about genetics, concentrating on the concept of a pedigree-collapse, or implex. Simply put, implex describes the means by which our pedigrees, or family trees, are truncated. Each family history, necessary, contains many points in which two individuals who, knowingly or unknowingly, share a common ancestor and thus reduce the branching of a pedigree. The text asked the listener to consider a future in which a single person could exist, who, through the proper series of implexes, descended from every human being alive at the present moment, apart from those who did not pass along their genetic material.

This piece was re-presented again in 2011, around 15 months after the intial performance. It was presented as the detritus of a past preformance, with the original transcript of the text previously performed framed in a half-blind frame. The objects have accumulated wear.

After researching magic tricks and pseudo-science, I discovered that after a period of time some light-bulbs, on burning out, can act as limited capacitors. Using this half-life, a small low-wattage bulb can be powered for a short period of time, as the residual charge of the well-used incandescent bulb slowly runs out. The bulb acted as a punctuation mark, ending 01-11-10, a one-night-only exhibition at Ludlow 38, in NYC.

According to my friend, a milkman, with whom I first saw this sign, the strip club was required by local authorizes to remove their previous sign. When we drove by, on his milk-route in the early morning, the frame of the sign was lit by neon lights on the exterior and florescent lights on the interior. Unfortunately, they replaced the empty sign with a legal, albeit less satisfying alternative.

A sculptural representation of the sign, as it existed that morning, is on the horizon.

Three frames built with half-blind dovetail joints, commonly used for making drawers. Each frame was built with dimensions to house work that fit in it, rather than sized for a specific piece. This makes some work sit awkwardly in the frame subtly calling attention to the framing. This project will continue with a full-set of half-blind frames in a wall-hung cabinet, where each frame acts as a drawer, but can be removed and hung in the standard way, as well.

Starting with only a mildly formatted .txt file, the edition was designed and typeset, printed on a small personal inkjet printer and hand bound with book-board, book-cloth, and pva glue. Each edition includes a dust-jacket printed from an injet printer on matte photo-paper and covered with acetate in the style of library hardcovers.

Cairn was built according to the artists instructions by library staff. Books were still available to be checked out from the library, as they were removed, the physical evidence of the cultural interaction would become manifest. To the contrary, the cairn was barely touched during its one-month existence. Visitors remarked that they feared they would destabilize it. A few visitors were reminded, with horror, of pyres of banned books.

In pre-revolutionary Cuba El Palacio de los Matrimonios functioned as a bourgeois residence. Now it is one of the few structures where Cubans may wed under the authority of the state. This drawing of the building functions as a theodolite: a surveyors instrument for measuring angles. In this case, it measures the angle of the viewer in relation to the building and the angle of the perspective of the creators of the image(s). The image of the building is only visible when the viewers relationship to the piece aligns with the perspective of the image. The final image of the building was drawn from multiple source photographs creating a composite image of the building from a composite perspective.

A complication of Joseph Kosuth's One and Three Chairs. Haveing not seen Kosuth's piece in person, this perspective drawing began as a tool, used to extrapolate the side-view of the chair. Since then, the drawing has complicated the Platonic ontology for me, adding another form beyond definition, object, and image. As such, the piece has been re-made and represented in a variety of media. First enacted as a drawing in ink and graphite on an inkjet printout of a scan of a text-book page  side-note¹.