Ellie Murphy, Outside Sketches, 2022, Soaring Gardens Artist Residency, Meshoppen, PA - InstallationEllie MurphyOutside Sketches2022Macramé and non-woven fiber on PEX tube with monofilament12 and 16 feet x 8 feet (Installation—dimensions variable)Soaring Gardens Artist Residency, Meshoppen, PA

Ellie Murphy, Sky Blue C, 2022, Macrame and non-woven fiber, 17" x 55" x 5"Ellie MurphySky Blue C2022Macramé and non-woven fiber17” x 55” x 5”

Ellie Murphy, Brown World, 2022, Macrame and non-woven fiber, 18" x 26" x 4"Ellie MurphyBrown World2022Macrame and non-woven fiber18" x 26" x 4"

Ellie Murphy, White Triangle, 2022, Macrame and non-woven fiber, 20" x 25" x 5"Ellie MurphyWhite Triangle2022Macrame and non-woven fiber20" x 25" x 5"

Ellie Murphy, Yellow Fleece, 2022, Macrame and non-woven fiber, 8" x 48" x 4"Ellie MurphyYellow Fleece2022Macramé and non-woven fiber8” x 48” x 4”

Ellie Murphy, Blue-Green Beard, 2022, Macrame and non-woven fiber, 13" x 25" x 5"Ellie MurphyBlue-Green Beard2022Macramé and non-woven fiber13” x 25” x 5”

Blue Moves, 2022, Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails, 16 feet x 10 feet, Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NYBlue Moves2022Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails16 feet x 10 feet Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY

Blue Moves (detail), 2022, Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails 16 feet x 10 feet, Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NYBlue Moves (detail)2022Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails16 feet x 10 feet Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY

To The Choir, 2021, 6mm polypropylene macrame cord, Installation—Salina Art Center, KS (dimensions variable) Ellie MurphyTo The Choir20216mm polypropylene macrame cordInstallation—Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work!Help the artist, if you wish, by straightening a few cords!Enjoy, but take your time and do not rush too fast!Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC

To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.Ellie MurphyTo The Choir20216mm polypropylene macrame cordInstallation—Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work!Help the artist, if you wish, by straightening a few cords!Enjoy, but take your time and do not rush too fast!Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC

Reservoir Rushes, 2021, 10” x 18”, Polypropylene macrame and non-woven fiberEllie MurphyReservoir Rushes202110” x 18”Polypropylene macrame and non-woven fiber

Small Blue Flock, 2022, Macrame and non-woven fiber, 10” x 15”Small Blue Flock2022Macrame and non-woven fiber10” x 15”

Blue Sheep, 2022, 6mm polypropylene macrame fiber on non-woven fabric, 12” x 18”Blue Sheep20226mm polypropylene macrame fiber on non-woven fabric12” x 18”

Purple Color, 2021, Macramé cord on watercolor paper with wax and acrylic, 10" x 15" x 5"Purple Color2021Macramé cord on watercolor paper with wax and acrylic10” x 15” x 5”

Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15' x 15' x 12'Twin Twain20216mm polypropylene macrame fiberInstallation approximately 15’ x 15’ x 12’

Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15’ x 15’ x 12’Twin Twain20216mm polypropylene macrame fiberInstallation approximately 15’ x 15’ x 12’

Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object), 16” x 18” x 20”Half Bath 2020 Encaustic on mixed media (paper, plasticine, and found object)16” x 18” x 20”

Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object) ,16” x 18” x 20”Half Bath2020Encaustic on mixed media (paper, plasticine, and found object)16” x 18” x 20”

Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object), 16” x 18” x 20”Half Bath 2020 Encaustic on mixed media (paper, plasticine, and found object)16” x 18” x 20”

The Grandfathers, 2020, 6mm Polypropylene cord, Red Barn Studio Museum, Lindsborg, KS, 12 x 7 x 50 feet—Indoor and Outdoor InstallationThe Grandfathers20206mm Polypropylene cordRed Barn Studio Museum, Lindsborg, KS12 x 7 x 100 feet—Indoor and Outdoor InstallationA unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.

The Grandfathers, 2020, 6mm Polypropylene cord, 12 x 7 x 100 feet-InstallationThe Grandfathers20206mm Polypropylene cordRed Barn Studio Museum, Lindsborg, KS12 x 7 x 50 feet—Indoor and Outdoor InstallationA unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.

Ellie Murphy, The Grandfathers, 2020, 6mm Polypropylene cord, 12 x 7 x 50 feet-InstallationThe Grandfathers20206mm Polypropylene cordRed Barn Studio Museum, Lindsborg, KS12 x 7 x 50 feet—Indoor and Outdoor InstallationA unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.

Lashes (Gazebo), 2020, Polypropylene, fiber, and wood, 8 feet x 8 feet x 8 feet (installation)Lashes (Gazebo)2020Polypropylene fiber and wood8 feet x 8 feet x 8 feetInstallation at Tilly Foster Farm, Brewster, NY

Lashes (Gazebo), 2020, Polypropylene fiber and wood, 8 feet x 8 feet x 8 feet (installation)Lashes (Gazebo)2020Polypropylene fiber and wood8 feet x 8 feet x 8 feetInstallation at Tilly Foster Farm, Brewster, NY

Infinity Scarf, 2019, Yarn, fishing line, cassette tape, and hardware, 50” x 50” x 100"Infinity Scarf2019Yarn, fishing line, cassette tape, and hardware50” x 50” x 100"This corner piece, “Infinity Scarf,” is made almost entirely from a bag of yarn that my mother and her good friend bought at a garage sale in Kansas specifically to give to me. All these remnants an unknown person bundled together somewhat—and yet not—randomly. It sat in the corner of my studio for the better part of a year until I had a sudden thought to make a sculpture using just this entire bag of yarn. Using the whole bag and nothing else. The idea came with another one—this yarn-bag-sculpture as a fiber-net-grid—a tribute to the work of artist Alan Shields who also grew up in Kansas. I had never heard of his work until it seemed to be everywhere inspiring me. And the cassette tape, also a gift from a friend. All these random and not so random things came together. A grid of system and not system, rationalities and emotions. Jimmy Buffett’s “Volcano.”

Infinity Scarf (detail), 2019, Yarn, fishing line, cassette tape, and hardware, 50” x 50” x 100"Infinity Scarf (detail)2019Yarn, fishing line, cassette tape, and hardware50” x 50” x 100"This corner piece, “Infinity Scarf,” is made almost entirely from a bag of yarn that my mother and her good friend bought at a garage sale in Kansas specifically to give to me. All these remnants an unknown person bundled together somewhat—and yet not—randomly. It sat in the corner of my studio for the better part of a year until I had a sudden thought to make a sculpture using just this entire bag of yarn. Using the whole bag and nothing else. The idea came with another one—this yarn-bag-sculpture as a fiber-net-grid—a tribute to the work of artist Alan Shields who also grew up in Kansas. I had never heard of his work until it seemed to be everywhere inspiring me. And the cassette tape, also a gift from a friend. All these random and not so random things came together. A grid of system and not system, rationalities and emotions. Jimmy Buffett’s “Volcano.”

Imitation Fearless Girl, 2019, Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware, 48” x 22” x 84”Imitation Fearless Girl2019Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware48” x 22” x 84”

Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feetFiber Nacho2019Polypropylene cord and vinyl tubeCollaborative Concepts at Saunders Farm Garrison, New York30 x 9 feet

Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm—Garrison, New York, 30 x 9 feetFiber Nacho2019Polypropylene cord and vinyl tubeCollaborative Concepts at Saunders Farm Garrison, New York30 x 9 feet

Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feetFiber Nacho2019Polypropylene cord and vinyl tubeCollaborative Concepts at Saunders Farm Garrison, New York30 x 9 feet

Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feetFiber Nacho 2019 Polypropylene cord and vinyl tubeCollaborative Concepts at Saunders FarmGarrison, New York30 x 9 feet

Bookmark, 2018, 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark, 8’ x 6” x 8’Bookmark201813 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark8’ x 6” x 8’Made in conjunction with my ProjectArt residency at the Queens Public Library Peninsula Branch, Rockaway Beach, NY.

Bookmark (detail), 2018, 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark, 8’ x 6” x 8’Bookmark201813 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark8’ x 6” x 8’Made in conjunction with my ProjectArt residency at the Queens Public Library Peninsula Branch, Rockaway Beach, NY.

Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16' Big Sister2017Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.

Big Sister, 2017. Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16' Big Sister2017Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.

Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16' Big Sister2017Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.

Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'Big Sister2017Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.

"Music to My Eyes," A group show organized by Ellie Murphy in association with Bushwick Open Studios 2017"Music to My Eyes"A group show organized by Ellie Murphy in association with Bushwick Open Studios 2017https://artsinbushwick.org/events/music-to-my-eyes-the-open-studio-show/Liz AtzJoy CurtisRico GatsonEllen Hackl FaganLibby HartleElisa JensenLars KremerAlex Lee HarrisBjoern Meyer-EbrechtNatalie MooreBrooke MoyseKelly ParrSeth David RubinSol'SaxPatrick ToddLaura WattIncreasingly, when I look at the work of my artist friends, colleagues and neighbors, I end up thinking about MUSIC. Pattern, geometry and system in art can make you feel the rhythm, theme and flow of music. Form and line recall melody and harmony. Art has tone and music has color—both have texture and repetition. Music can be easy, familiar and light, but it can also express deeply held universal truths that inspire, not just the individual, but whole societies.Music to my Eyes is a group show about the presence of music in art. The musical qualities of melody, harmony, tone, flow, texture, repetition and rhythm are referenced through the elements of art—form, line, color, space, texture, value and shape. Abstraction and representation fuse. The synesthetic act of seeing what you usually hear creates a hybrid emotional response where the connection to the viewer is direct, immediate, intuitive and felt in the body in a way that is similar to a musical response. Is this more honest and genuine than sight alone, and does it stir in us the important need—not just to look for—but to sense and feel our common truth?

Cross Bow, 2017, Polypropylene fiber, vinyl tube, webbing fastener, bungee cord, and metal, 19.5‘ x 10’ x 3’ (Site-specific installation)Cross Bow2017Polypropylene fiber, vinyl tube, webbing fastener, bungee cord, and metal19.5‘ x 10’ x 3’ (Site-specific installation)With this site-specific piece, Cross Bow, I am trying to make a physical picture of the rhythm, repetition and tension between public and private life. How do the actions of one individual, one strand, work in relation to the whole, or the whole of society? Does one set of fibers work together with or in opposition to the other?

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 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 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

Untitled (Among Friends after Speakerboxx), 2019, Polypropylene cord on handmade acid-free paper with zipper, 7” x 9”Untitled (Among Friends after Speakerboxx)2019Polypropylene cord on handmade acid-free paper with zipper7” x 9”

Untitled (Among Friends after Speakerboxx), back, 2019, Polypropylene cord on handmade acid-free paper with zipper, 7” x 9”Untitled (Among Friends after Speakerboxx), back2019Polypropylene cord on handmade acid-free paper with zipper7” x 9”

Untitled (Among Friends), 2018, Acrylic yarn on zipped acid-free handmade paper, 7” x 9”Untitled (Among Friends)2018Acrylic yarn on zipped acid-free handmade paper7” x 9”

Self-Portrait 144 (Just Gross), 2017, Archival ink-jet, 12” x 12”Self-Portrait 144 (Just Gross)2017Archival ink-jet12” x 12”Every selfie on my iPhone from the previous 365 day period.

Little Women, 2016, Polypropylene cord, steel, and wood, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016Polypropylene cord, steel, and woodFranconia Sculpture Park, MN17 x 9 x 20 feet

Little Women, 2016, Polypropylene cord, steel, and wood, Franconia Sculpture Park, MN, 17 x 9 x 20 feet.Little Women2016Polypropylene cord, steel, and woodFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women20166mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN 17 x 9 x 20 feetLittle Women20166mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women (detail)20166mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women20166mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN 17 x 9 x 20 feetLittle Women2016mm Polypropylene cord, wood and painted metalFranconia 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, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feetLittle Women2016mm Polypropylene cord, wood and painted metalFranconia 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.

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 Spring2015Acrylic yarn, wood7 feet x 6 feet

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, 2015Acrylic yarn, wood7 feet x 6 feet

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.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, 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), 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)2015Yarn with fabric, wood and metal7' x 4' x 11'

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 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 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'Diffuser2014Yarn2.5 feet x 2 feet x 5 feet

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)2014Yarn2.5' x 2' x 5'

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) 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-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-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-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)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)2011-2014Acrylic yarn14 x 45 feet (dimensions variable)

Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)Thirty Pounds Lime (from TRIM)2011-2014Acrylic yarn14 x 45 feet (detail)

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)2014Fabric, metal, plastic beads, styrofoam and wood3 feet x 8 feet

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)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 (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 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 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", 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)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 inchesOmega Female2012Acrylic yarn, cotton, steel72 x 24 x 24 inches

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 Nostalgia2012Acrylic yarn6' x 7' x 8' (Installation)

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 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 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 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 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 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 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 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 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 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 Bridges2011Acrylic yarn5' x 8' (Installation)

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 feetLaura2005-11Acrylic Yarn, hardware3 x 4 x 9 feet

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 Falls2010Acrylic yarn5' x 3' x 9' (Installation)

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 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 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 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 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)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)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)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)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)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)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 (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 (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 (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" 2009Digital drawing, 17 x 11"

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")2009Plastic beads, nylon, metal and wood6' x 8' (Detail)

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)2009Digital drawing ink jet11 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)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)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 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 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 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 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 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 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)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)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,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, 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, 2000, Digital collage drawing (edition of 5), 18 x 24"First Love2000Digital collage drawing (edition of 5)18 x 24"

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 Sisters2006Acrylic yarn5' x 6'

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'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)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 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 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 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 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 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 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 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: 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: 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 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 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 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 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 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 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 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)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)2001Clay, metal and wood1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)