Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb (detail), 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb (detail), 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women 2016 Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women (detail), 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women (detail), 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Bricks 2, 2016, Encaustic on acid-free paper, 22-1/2 x 30 inches
Bricks 2, 2016, Encaustic on acid-free paper, 22-1/2 x 30 inches
Serape 2, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 2, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 1, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 1, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Blooming Onion, 2016, Encaustic on watercolor paper, 16" x 16"
Blooming Onion, 2016, Encaustic on watercolor paper, 16" x 16"
Corners for Seasons (Installation view), 2015, Acrylic yarn, wood, Four units, each 7' x 6'
Corners for Seasons (Installation view), 2015, Acrylic yarn, wood, Four units, each 7' x 6'
Corners for Seasons Spring, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Spring, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Summer, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Summer, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Fall, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Fall, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Winter, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Winter, 2015, Acrylic yarn, wood, 7' x 6'
Pleasures of the Flesh (Installation view), 2015, Curated by Ellie Murphy and Kelly Parr, Outpost Artists Resources, Ridgewood Queens, New York, outpostartistsresources.org
Pleasures of the Flesh (Installation view), 2015, Curated by Ellie Murphy and Kelly Parr, Outpost Artists Resources, Ridgewood Queens, New York, outpostartistsresources.org
Denim Burka Tassel, 2005-2015, 25 pounds of acrylic yarn, beads and rope with hook, 7' with rope dimensions variable, Detail from Pleasures of the Flesh, 2015
Denim Burka Tassel, 2005-2015, 25 pounds of acrylic yarn, beads and rope with hook, 7' with rope dimensions variable, Detail from Pleasures of the Flesh, 2015
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Silver Bark, 2016, Encaustic on paper, 6"x 6"
Silver Bark, 2016, Encaustic on paper, 6"x 6"
Silver Spur, 2016, Encaustic on paper, 6" x 6"
Silver Spur, 2016, Encaustic on paper, 6" x 6"
Tomato Bark, 2016, Encaustic on paper, 6" x 6"
Tomato Bark, 2016, Encaustic on paper, 6" x 6"
Tomato Paste, 2016, Encaustic on paper, 6" x 6"
Tomato Paste, 2016, Encaustic on paper, 6" x 6"
Walnut Bark, 2016, Encaustic on paper, 6" x 6"
Walnut Bark, 2016, Encaustic on paper, 6" x 6"
Walnut Whip, 2016, Encaustic on paper, 6" x 6"
Walnut Whip, 2016, Encaustic on paper, 6" x 6"
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser (detail), ​2014, Yarn, 2.5' x 2' x 5'
Diffuser (detail), ​2014, Yarn, 2.5' x 2' x 5'
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen (Video clip), 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen (Video clip), 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Alternate installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Alternate installation)
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30', from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30', from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50 x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50 x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8'
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8'
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8' (detail)
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8' (detail)
Five Untitled Drawings, 2013-2014, Encaustic with copper wire and acrylic yarn. 3 12" and 2 16" pieces
Five Untitled Drawings, 2013-2014, Encaustic with copper wire and acrylic yarn. 3 12" and 2 16" pieces
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1'
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1'
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (detail)
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (detail)
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (Installation view)
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (Installation view)
Roomba, 2013, Metal, fabric, yarn, wood, 100" x 20", on left          Subway Prom, 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba, 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom, 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba (detail), 2013, Metal, fabric, yarn, wood, 100" x 20", on left          Subway Prom (detail), 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba (detail), 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom (detail), 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba, 2013, Metal, fabric, yarn, wood 100" x 20", detail
Roomba, 2013, Metal, fabric, yarn, wood 100" x 20", detail
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
3graces, 2012, Cotton, polyester, steel and birdseed, 5 x 2 x 2 feet
3graces, 2012, Cotton, polyester, steel and birdseed, 5 x 2 x 2 feet
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Installation view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Installation view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece. 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece. 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Reel, 2004-2011, DVD loop, 14 minutes (Detail 1.10)
Reel, 2004-2011, DVD loop, 14 minutes (Detail 1.10)
Reel, 2004-2011, DVD loop, 14 minutes
Reel, 2004-2011, DVD loop, 14 minutes
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Installation)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Installation)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Detail)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation view)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation view)
Rico Gatson and Ellie Murphy, Untitled 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Tassel detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Tassel detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn 14' x 40' x 80' (Installation detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn 14' x 40' x 80' (Installation detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Work in progress)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Work in progress)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
"Pac Man," 2009, Digital drawing, 17 x 11"
"Pac Man," 2009, Digital drawing, 17 x 11"
Untitled (The Big "U"), 2009, Plastic beads, nylon, metal and wood, 6' x 8'
Untitled (The Big "U"), 2009, Plastic beads, nylon, metal and wood, 6' x 8'
Untitled (The Big "U"), 2009 Plastic beads, nylon, metal and wood, 6' x 8' (Detail)
Untitled (The Big "U"), 2009 Plastic beads, nylon, metal and wood, 6' x 8' (Detail)
Untitled (Varsity), 2008, 10 Acrylic yarn tassels, 12" x 72" each (Installation)
Untitled (Varsity), 2008, 10 Acrylic yarn tassels, 12" x 72" each (Installation)
Untitled (Beaded Hairstyles 1), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 1), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 2), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 2), 2009, Digital drawing ink jet, 11 x 17"
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7' (Installation)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7' (Installation)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11' (Installation)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11' (Installation)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11 feet (Detail)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
Intelligent Design,  2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
First Love, 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love, 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail back), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail back), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation view at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation view at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
Untitled (Tassels Drawing), 2005, Digital drawing ink jet on paper, 9 x 12"
Untitled (Tassels Drawing), 2005, Digital drawing ink jet on paper, 9 x 12"
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6'
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6'
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7'
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7'
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7' (Detail)
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation view)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation view)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11 feet (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11 feet (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Work in progress in studio)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Work in progress in studio)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, Mounted digital photographic drawing, 36 x 30" (edition of 5)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, Mounted digital photographic drawing, 36 x 30" (edition of 5)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing, (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing, (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation in Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation in Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2002, Plastic pony beads, nylon string, wood, metal, vinyl and cement, 35 x 25' (Franconia Sculpture Park)
Gene Pairs ... With Ellipses, 2002, Plastic pony beads, nylon string, wood, metal, vinyl and cement, 35 x 25' (Franconia Sculpture Park)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
First Love, 2000, ​Digital collage drawing (edition of 5), 18 x 24"
First Love, 2000, ​Digital collage drawing (edition of 5), 18 x 24"
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and woodComb20164’ x 16’ x 6”Yarn with metal and wood“Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole.Photo: Peter Gynd 
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and woodComb20164’ x 16’ x 6”Yarn with metal and wood“Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole.Photo: Peter Gynd
Comb (detail), 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb (detail), 2016, 4’ x 16’ x 6,” Yarn with metal and woodComb20164’ x 16’ x 6”Yarn with metal and wood“Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole.Photo: Peter Gynd
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and woodComb20164’ x 16’ x 6”Yarn with metal and wood“Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole.Photo: Jordan Rathkopf
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet.Little Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it. 
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it. 
Little Women 2016 Franconia Sculpture Park, MN 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women (detail), 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women (detail), 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women (detail)2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women, 2016, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Franconia Sculpture Park, MN17 x 9 x 20 feetI had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
Bricks 2, 2016, Encaustic on acid-free paper, 22-1/2 x 30 inches
Bricks 2, 2016, Encaustic on acid-free paper, 22-1/2 x 30 inchesBricks 22016Encaustic on acid-free paper22-1/2 x 30 inches
Serape 2, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 2, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inchesSerape 22016Encaustic on acid-free paper30 x 22-1/2 inches
Serape 1, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 1, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inchesSerape 12016Encaustic on acid-free paper30 x 22-1/2 inches
Blooming Onion, 2016, Encaustic on watercolor paper, 16" x 16"
Blooming Onion, 2016, Encaustic on watercolor paper, 16" x 16"Blooming Onion (Honnie Sonnie)2016Encaustic on watercolor paper12" x 12"
Corners for Seasons (Installation view), 2015, Acrylic yarn, wood, Four units, each 7' x 6'
Corners for Seasons (Installation view), 2015, Acrylic yarn, wood, Four units, each 7' x 6'Corners for Seasons (Installation view), 2015Acrylic yarn, wood7 feet x 6 feet
Corners for Seasons Spring, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Spring, 2015, Acrylic yarn, wood, 7' x 6'Corners for Seasons Spring2015Acrylic yarn, wood7 feet x 6 feet
Corners for Seasons Summer, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Summer, 2015, Acrylic yarn, wood, 7' x 6'Corners for Seasons Summer, 2015Acrylic yarn, wood7 feet x 6 feet
Corners for Seasons Fall, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Fall, 2015, Acrylic yarn, wood, 7' x 6'Corners for Seasons Fall, 2015Acrylic yarn, wood7 feet x 6 feet
Corners for Seasons Winter, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Winter, 2015, Acrylic yarn, wood, 7' x 6'Corners for Seasons Winter, 2015Acrylic yarn, wood7 feet x 6 feet
Pleasures of the Flesh (Installation view), 2015, Curated by Ellie Murphy and Kelly Parr, Outpost Artists Resources, Ridgewood Queens, New York, outpostartistsresources.org
Pleasures of the Flesh (Installation view), 2015, Curated by Ellie Murphy and Kelly Parr, Outpost Artists Resources, Ridgewood Queens, New York, outpostartistsresources.orgPleasures of the Flesh (Installation view), 2015Curated by Ellie Murphy and Kelly ParrOutpost Artists Resources, Ridgewood Queens, New Yorkoutpostartistsresources.org
Denim Burka Tassel, 2005-2015, 25 pounds of acrylic yarn, beads and rope with hook, 7' with rope dimensions variable, Detail from Pleasures of the Flesh, 2015
Denim Burka Tassel, 2005-2015, 25 pounds of acrylic yarn, beads and rope with hook, 7' with rope dimensions variable, Detail from Pleasures of the Flesh, 2015Denim Burka Tassel, 2005-201525 pounds of acrylic yarn, beads and rope with hook7 feet with rope dimensions variableDetail from Pleasures of the Flesh, 2015Curated by Ellie Murphy and Kelly ParrOutpost Artists Resources, Ridgewood Queens, New Yorkoutpostartistsresources.org
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'Teen Baleen (Corset), 2015Yarn with fabric, wood and metal7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'Teen Baleen (Corset), 2015Yarn with fabric, wood and metal7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'Teen Baleen (detail)2015Yarn with fabric, wood and metal7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'Teen Baleen (detail)2015Yarn with fabric, wood and metal7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'Teen Baleen (detail)2015Yarn with fabric, wood and metal7' x 4' x 11'
Silver Bark, 2016, Encaustic on paper, 6"x 6"
Silver Bark, 2016, Encaustic on paper, 6"x 6"Silver Bark2016Encaustic on paper6"x 6"
Silver Spur, 2016, Encaustic on paper, 6" x 6"
Silver Spur, 2016, Encaustic on paper, 6" x 6"Silver Spur2016Encaustic on paper6" x 6"
Tomato Bark, 2016, Encaustic on paper, 6" x 6"
Tomato Bark, 2016, Encaustic on paper, 6" x 6"Tomato Bark2016Encaustic on paper6" x 6"
Tomato Paste, 2016, Encaustic on paper, 6" x 6"
Tomato Paste, 2016, Encaustic on paper, 6" x 6"Tomato Paste2016Encaustic on paper6" x 6"
Walnut Bark, 2016, Encaustic on paper, 6" x 6"
Walnut Bark, 2016, Encaustic on paper, 6" x 6"Walnut Bark2016Encaustic on paper6" x 6"
Walnut Whip, 2016, Encaustic on paper, 6" x 6"
Walnut Whip, 2016, Encaustic on paper, 6" x 6"Walnut Whip2016Encaustic on paper6" x 6"
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)PAPER JAM: Exploring Visual Strategies for Social Concern"On April 14, 2014, 276 schoolgirls were kidnapped from Government Secondary School, Chibok by Boko Haram terrorists in Nigeria. 57 escaped and 219 are still missing." —#bringbackourgirlsStolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)PAPER JAM: Exploring Visual Strategies for Social Concern"On April 14, 2014, 276 schoolgirls were kidnapped from Government Secondary School, Chibok by Boko Haram terrorists in Nigeria. 57 escaped and 219 are still missing." —#bringbackourgirlsStolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return.While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'Diffuser2014Yarn2.5 feet x 2 feet x 5 feet
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'
Diffuser, ​2014, Yarn, 2.5' x 2' x 5'Diffuser2014Yarn2.5' x 2' x 5'
Diffuser (detail), ​2014, Yarn, 2.5' x 2' x 5'
Diffuser (detail), ​2014, Yarn, 2.5' x 2' x 5'Diffuser (detail)2014Yarn2.5' x 2' x 5'
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation) Baleen2014Yarn with wood and metal9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation) Baleen2014Yarn with wood and metal9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation) Baleen2014Yarn with wood and metal9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
Baleen (Video clip), 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation) Baleen2014Yarn with wood and metal9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Alternate installation)
Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Alternate installation) Baleen2014Yarn with wood and metal9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30', from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30', from The Communal Table, June 2014, curated by Björn Meyer-EbrechtUntitled (Post)2014Acrylic yarn, wood, metal, plasticine and plastic50 x 30 inchesfrom The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-EbrechtUntitled (Post)2014Acrylic yarn, wood, metal, plasticine and plastic50 x 30 inchesfrom The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50 x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50 x 30", from The Communal Table, June 2014, curated by Björn Meyer-EbrechtUntitled (Post)2014Acrylic yarn, wood, metal, plasticine and plastic50 x 30 inchesfrom The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)Untitled (Post)2014Acrylic yarn, wood, metal, plasticine and plastic50 x 30 inchesfrom The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)Thirty Pounds Lime (from TRIM)2011-2014Acrylic yarn14 x 45 feet (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)Thirty Pounds Lime (from TRIM)2011-2014Acrylic yarn14 x 45 feet (dimensions variable)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)Thirty Pounds Lime (from TRIM)2011-2014Acrylic yarn14 x 45 feet (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)Thirty Pounds Lime (from TRIM)2011-2014Acrylic yarn14 x 45 feet (detail)
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8'
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8'Untitled (Tankini)2014Fabric, metal, plastic beads, styrofoam and wood3 feet x 8 feet
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8' (detail)
Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8' (detail)Untitled (Tankini)2014Fabric, metal, plastic beads, styrofoam and wood3 feet x 8 feet
Five Untitled Drawings, 2013-2014, Encaustic with copper wire and acrylic yarn. 3 12" and 2 16" pieces
Five Untitled Drawings, 2013-2014, Encaustic with copper wire and acrylic yarn. 3 12" and 2 16" piecesFive Untitled Drawings2013-2014Encaustic with copper wire and acrylic yarn3 12-inch and 2 16-inch pieces
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1'
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1'UNITEDunited2013Plastic beads and nylon cord9 feet x 1 footEllie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarves carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors. 
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (detail)
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (detail)UNITEDunited2013Plastic beads and nylon cord9 feet x 1 footEllie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarves carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors. 
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (Installation view)
UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (Installation view)UNITEDunited (from United/Divided)2013Plastic beads and nylon cord9 feet x 1 foot Artist Curated Projects5152 La Vista CourtLA CA 90004United/DividedIn his video “Reds and Blues,” Rico Gatson begins with footage from the 1969 Altamont Free Concert. He makes rhythms and patterns using these colors, playing on the psychedelic experience of the pill-popping, unreserved culture of the 1960’s, L.A.gang colors, and the Blues of music. As the celebration of the festival erupts further into violence, the song continues. One is left wondering, that when we are most connected there can exist separation and division.Ellie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarfs carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors. Installed together, “Reds and Blues” and “UNITEDunited” use color and form to ask what connects people to each other. How do people choose to see and define these connections? And when do those connections get lost in the crowd.
Roomba, 2013, Metal, fabric, yarn, wood, 100" x 20", on left          Subway Prom, 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba, 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom, 2013, Metal, fabric, yarn, beads, 100" x 20", on rightRoomba2013Metal, fabric, yarn, wood100 inches x 20 inches, on left Subway Prom2013Metal, fabric, yarn, beads100 inches x 20 inches, on right
Roomba (detail), 2013, Metal, fabric, yarn, wood, 100" x 20", on left          Subway Prom (detail), 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba (detail), 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom (detail), 2013, Metal, fabric, yarn, beads, 100" x 20", on rightRoomba (detail)2013Metal, fabric, yarn, wood100 inches x 20 inches, on left Subway Prom (detail)2013Metal, fabric, yarn, beads100 inches x 20 inches, on right
Roomba, 2013, Metal, fabric, yarn, wood 100" x 20", detail
Roomba, 2013, Metal, fabric, yarn, wood 100" x 20", detailRoomba2013Metal, fabric, yarn, wood100 inches x 20 inches, detail
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'Mother Shipton's Cave (Petrifying Well)2013Plastic, mylar, yarn, mixed media125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inchesOmega Female2012Acrylic yarn, cotton, steel72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inchesOmega Female2012Acrylic yarn, cotton, steel72 x 24 x 24 inches
3graces, 2012, Cotton, polyester, steel and birdseed, 5 x 2 x 2 feet
3graces, 2012, Cotton, polyester, steel and birdseed, 5 x 2 x 2 feet3graces2012Cotton, polyester, steel and birdseed5 x 2 x 2 feet
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)Historical Nostalgia2012Acrylic yarn6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)Historical Nostalgia2012Acrylic yarn6' x 7' x 8' (Installation)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)Historical Nostalgia2012Acrylic yarn6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)Historical Nostalgia2012Acrylic yarn6' x 7' x 8' (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feetA Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feetStarting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feetA Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feetStarting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Installation view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Installation view)A Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feet (Installation view)Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)A Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feet (Detail)Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)A Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feet (Detail)Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)A Valence2012Yarn, wood, poly-fil, hardware10 x 2 x 10 feet (Detail)Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view)A Valence2012Yarn, wood, poly-fil and hardware10 x 2 x 10 feet (Studio view)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)A Valence2012Yarn, wood, poly-fil and hardware10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)A Valence2012Yarn, wood, poly-fil and hardware10 x 2 x 10 feet (Studio view detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece. 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece. 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Detail)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)Green Piece2011Acrylic yarn and tin foil7' x 8' x 9' (Studio view)
Reel, 2004-2011, DVD loop, 14 minutes (Detail 1.10)Reel2004-2011DVD loop, 14 minutes (1.10 detail)This footage dates from when I first began making large yarn sculptures and was experimenting with how to fabricate them. As I was unwinding pounds of yarn off skeins and onto the armature I had set up, I put a video camera in the studio to record myself at work. I started to think of this process as very analog and set up my cassette tape player with music to accompany me while I was working.
Reel, 2004-2011, DVD loop, 14 minutesReel2004-2011DVD loop, 14 minutesThis footage dates from when I first began making large yarn sculptures and was experimenting with how to fabricate them. As I was unwinding pounds of yarn off skeins and onto the armature I had set up, I put a video camera in the studio to record myself at work. I started to think of this process as very analog and set up my cassette tape player with music to accompany me while I was working.
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Installation)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Installation)Magenta Bridges2011Acrylic yarn5' x 8' (Installation)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Detail)
Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Detail)Magenta Bridges2011Acrylic yarn5' x 8' (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feetLaura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feetLaura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feetLaura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)Laura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)Laura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation)The Falls2010Acrylic yarn5' x 3' x 9' (Installation)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)The Falls2010Acrylic yarn5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)The Falls2010Acrylic yarn5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Detail)The Falls2010Acrylic yarn5' x 3' x 9' (Detail)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation view)
The Falls, 2010, Acrylic yarn, ​5' x 3' x 9' (Installation view)The Falls2010Acrylic yarn5' x 3' x 9' (Installation view)
Rico Gatson and Ellie Murphy, Untitled 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)Rico Gatson and Ellie MurphyUntitled2010Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line3' x 11' x 3' (Detail from Collective Show)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Installation with video)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Installation with video)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Installation with video)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Detail)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Detail)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Tassel detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Tassel detail)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Tassel detail)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn 14' x 40' x 80' (Installation detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn 14' x 40' x 80' (Installation detail)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Installation detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Work in progress)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Work in progress)A Work in Progress: TRIM(Installation at Usdan Gallery, Bennington College)2010Acrylic yarn14' x 40' x 80' (Work in progress)TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)Rico Gatson and Ellie Murphy"Pac Man" at ACP (Artist Curated Projects), Los Angeles2009Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images5 beaded curtains, each 30 x 80 inches(Installation dimensions variable)We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site.“Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
"Pac Man," 2009, Digital drawing, 17 x 11"
"Pac Man," 2009, Digital drawing, 17 x 11""Pac Man" 2009Digital drawing, 17 x 11" 
Untitled (The Big "U"), 2009, Plastic beads, nylon, metal and wood, 6' x 8'
Untitled (The Big "U"), 2009, Plastic beads, nylon, metal and wood, 6' x 8'Untitled (The Big "U")2009Plastic beads, nylon, metal and wood6' x 8'
Untitled (The Big "U"), 2009 Plastic beads, nylon, metal and wood, 6' x 8' (Detail)
Untitled (The Big "U"), 2009 Plastic beads, nylon, metal and wood, 6' x 8' (Detail)Untitled (The Big "U")2009Plastic beads, nylon, metal and wood6' x 8' (Detail)
Untitled (Varsity), 2008, 10 Acrylic yarn tassels, 12" x 72" each (Installation)
Untitled (Varsity), 2008, 10 Acrylic yarn tassels, 12" x 72" each (Installation)Untitled (Varsity)200810 Acrylic yarn tassels12" x 72" each (Installation)
Untitled (Beaded Hairstyles 1), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 1), 2009, Digital drawing ink jet, 11 x 17"Untitled (Beaded Hairstyles 1)2009Digital drawing ink jet11 x 17"
Untitled (Beaded Hairstyles 2), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 2), 2009, Digital drawing ink jet, 11 x 17"Untitled (Beaded Hairstyles 2)2009Digital drawing ink jet11 x 17"
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7' (Installation)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7' (Installation)SQUASHblossom2007Acrylic yarn, beads, tin foil5 x 6 x 7 feet (Installation)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)SQUASHblossom2007Acrylic yarn, beads, tin foil5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)SQUASHblossom2007Acrylic yarn, beads, tin foil5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)SQUASHblossom2007Acrylic yarn, beads, tin foil5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)SQUASHblossom2007Acrylic yarn, beads, tin foil5 x 6 x 7 feet (Detail)
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York CityStrand organized by Rico Gatson and Ellie Murphy2007Installation at NYCAMS, New York CityStrand is a show of artists who work in a similar vein. A shared affinity for the hard within the soft and the potency of material is explored. There is a poetic strength to the work which refers to both the physical environment and to a broader sense of social connectivity. The fact that all the work is in some way contingent upon its environment speaks to a desire not simply to transcend a mutual dependency, but to embrace it. Pieces hang from the ceiling, are embedded in the wall, piled upon the floor, wrapped around structure, or woven into armature. Strand, in this fashion, transcends the simple meaning of fiber, thread or linear form to evoke a sense both of connectedness and isolation.
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York CityStrand organized by Rico Gatson and Ellie Murphy2007Installation at NYCAMS, New York CityStrand is a show of artists who work in a similar vein. A shared affinity for the hard within the soft and the potency of material is explored. There is a poetic strength to the work which refers to both the physical environment and to a broader sense of social connectivity. The fact that all the work is in some way contingent upon its environment speaks to a desire not simply to transcend a mutual dependency, but to embrace it. Pieces hang from the ceiling, are embedded in the wall, piled upon the floor, wrapped around structure, or woven into armature. Strand, in this fashion, transcends the simple meaning of fiber, thread or linear form to evoke a sense both of connectedness and isolation.
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11' (Installation)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11' (Installation)Indian Corn2007Acrylic yarn, clay, cork, fabric, bamboo and cans7 x 6 x 11 feet (Installation)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11 feet (Detail)
Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11 feet (Detail)Indian Corn2007Acrylic yarn, clay, cork, fabric, bamboo and cans7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)Indian Corn2007Acrylic yarn, clay, cork, fabric, bamboo and cans7 x 6 x 11 feet (Detail)
Intelligent Design,  2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation viewIntelligent Design 2007Guest organized by Rico Gatson and Ellie MurphyMomenta Art BrooklynInstallation viewMomenta Art is pleased to present a group show organized by artists Rico Gatson and Ellie Murphy. Using system theory as a starting point to enter into emotional realms and states of mind, the artists in Intelligent  Design use the abstraction inherent in "system" to approach a diversity  of subjects–mathematical, scientific or technological systems; social  systems that define gender and race; visual systems of pattern and craft;  the cultural systems that create art and music, religion and history.Artists use system in their work to get at something vast and unsystematic, using  sense to get to a place that does not make sense. Rosalind Krauss asserts  in her essay "Grids" that the use of system makes it possible for artists to combine the sacred and secular without having to choose between  them. But the work we have selected takes this combination to a new place.  System here is freed by an increased technological and scientific sense  of interconnectedness from the need to be either sacred, profane or both.  It assumes the systematic task of existing (a task both physical and  spiritual), as it purports to discover the collective hum it believes—it  knows –is out there.The show has a taxonomy of emotion underlying it. The artists don't decide between intelligent design and the theory of evolution. They fix their belief in one system and all systems simultaneously. By definition, system describes both the individual elements and their interaction and functioning together as a whole. Gatson and Murphy are fascinated by artists taking the scientific, mathematical and technological to personal, emotional or spiritual regions. System in this sense brings together the abstract and the concrete. It is where the personal becomes the universal.
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation view
Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, ​Momenta Art Brooklyn, Installation viewIntelligent Design 2007Guest organized by Rico Gatson and Ellie MurphyMomenta Art BrooklynInstallation viewMomenta Art is pleased to present a group show organized by artists Rico Gatson and Ellie Murphy. Using system theory as a starting point to enter into emotional realms and states of mind, the artists in Intelligent  Design use the abstraction inherent in "system" to approach a diversity  of subjects–mathematical, scientific or technological systems; social  systems that define gender and race; visual systems of pattern and craft;  the cultural systems that create art and music, religion and history.Artists use system in their work to get at something vast and unsystematic, using  sense to get to a place that does not make sense. Rosalind Krauss asserts  in her essay "Grids" that the use of system makes it possible for artists to combine the sacred and secular without having to choose between  them. But the work we have selected takes this combination to a new place.  System here is freed by an increased technological and scientific sense  of interconnectedness from the need to be either sacred, profane or both.  It assumes the systematic task of existing (a task both physical and  spiritual), as it purports to discover the collective hum it believes—it  knows –is out there.The show has a taxonomy of emotion underlying it. The artists don't decide between intelligent design and the theory of evolution. They fix their belief in one system and all systems simultaneously. By definition, system describes both the individual elements and their interaction and functioning together as a whole. Gatson and Murphy are fascinated by artists taking the scientific, mathematical and technological to personal, emotional or spiritual regions. System in this sense brings together the abstract and the concrete. It is where the personal becomes the universal.
First Love, 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love, 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (detail)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (detail)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail back), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail back), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (detail back)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation view at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation view at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (Installation view at Shared Women LACE,Los Angeles Contemporary Exhibitions)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (Installation at Shared Women LACE, os Angeles Contemporary Exhibitions)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'First Love (Installation at Shared Women LACE, os Angeles Contemporary Exhibitions)2007Glass, paper, tape, plexiglass, wood and fluorescent lights41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
Untitled (Tassels Drawing), 2005, Digital drawing ink jet on paper, 9 x 12"
Untitled (Tassels Drawing), 2005, Digital drawing ink jet on paper, 9 x 12"Untitled (Tassels Drawing)2005Digital drawing ink jet on paper9 x 12"
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6'
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6'Mandelbroot Sisters2006Acrylic yarn5' x 6'
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)Mandelbroot Sisters2006Acrylic yarn5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)Mandelbroot Sisters2006Acrylic yarn5' x 6' (Detail)
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7'
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7'Tassels2006Acrylic yarn and beads with nylon rope3 pieces each around 1.5' x 7'
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7' (Detail)
Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7' (Detail)Tassels2006Acrylic yarn and beads with nylon rope3 pieces each around 1.5' x 7' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation view)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation view)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Installation dimensions variable)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11 feet (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11 feet (Detail)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Detail)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Detail)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Installation)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Detail)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Detail)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Detail)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Work in progress in studio)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Work in progress in studio)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library200560 library books, paper, photo, yarn, tape and metal7 x 4 x 11 feet (Work in progress in studio)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, Mounted digital photographic drawing, 36 x 30" (edition of 5)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, Mounted digital photographic drawing, 36 x 30" (edition of 5)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library2005Mounted digital photographic drawing36 x 30" (edition of 5)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing, (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing, (Dimensions variable installed at Grassmacks Gallery Minnesota)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library2007Ink jet on matte photo paper and vellum60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library2007Ink jet on matte photo paper and vellum60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)bioGRAPHY: A Site Specific Project for the Brooklyn Public Library2007Ink jet on matte photo paper and vellum60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm.The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Installation outdoors, dimensions variable)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Installation outdoors, dimensions variable)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Detail)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Detail)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Detail)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation)
River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation)River Abacus2004Fiberglass, nylon, plastic beads and cement16 x 20 feet (Installation)The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation in Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation in Minneapolis, MN)Gene Pairs ... With Ellipses2003Plastic pony beads and nylon string35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)Gene Pairs ... With Ellipses2003Plastic pony beads and nylon string35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)Gene Pairs ... With Ellipses2003Plastic pony beads and nylon string35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)Gene Pairs ... With Ellipses2003Plastic pony beads and nylon string35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)Gene Pairs ... With Ellipses2003Plastic pony beads and nylon string35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
Gene Pairs ... With Ellipses, 2002, Plastic pony beads, nylon string, wood, metal, vinyl and cement, 35 x 25' (Franconia Sculpture Park)
Gene Pairs ... With Ellipses, 2002, Plastic pony beads, nylon string, wood, metal, vinyl and cement, 35 x 25' (Franconia Sculpture Park)Gene Pairs ... With Ellipses2002Plastic pony beads, nylon string, wood, metal, vinyl and cement35 x 25 feet (Installation at Franconia Sculpture Park)Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome.Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning with Chromosome 1 and continuing through Chromosome 22. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X.By passing through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet"In the beginning was the Word..." (Binary Triptych)2001Clay, metal and wood1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)"In the beginning was the Word..." (Binary Triptych)2001Clay, metal and wood1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)"In the beginning was the Word..." (Binary Triptych)2001Clay, metal and wood1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet"In the beginning was the Word..." (Binary Triptych)2001Clay, metal and wood1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
First Love, 2000, ​Digital collage drawing (edition of 5), 18 x 24"
First Love, 2000, ​Digital collage drawing (edition of 5), 18 x 24"First Love2000Digital collage drawing (edition of 5)18 x 24"
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