Lauren Huggler and I have been collaborating on a bunch of different project, but this is the one I think we’ll continue working on forever. It’s a tribute to one of our favorite artists–Sol Lewitt.
Tessa Tintle, O.P. has shared with me some of her expertise as an opthalmic photographer–which I used in my photogram work. We’re continuing this process slowly, but I’m pretty happy with the results we’ve gotten so far.
Benjamin Franklin Pawlowski, extraordinaire, has given me some new tools to work with. Here’s one of the pieces that I made using what he left on my doorstep.
Recently (4/2011) I’ve been working on a series of photograms that record the intricacies of handmade objects. Of course that’s a pretty broad topic, but my particular interest is in crafts that I can record with light sensitive materials. Barbara Saltern, a lace-maker, allowed me to begin with her handmade collection. Below are images from that collaboration.
These are two of several elements in an installation that Dan Talley and I worked on for a group exhibit at NACC. It’s titled “Divining” and was/is as work in progress.
Last year I asked my grandma, mom, and sister if they’d like to participate in a generational collaboration. Basically the idea is to endlessly pass the book and add to it with anything that seems relevant to our artistic and poetic lives. Over Easter (2011) my sister and I read what my grandma had written so far and barely got through a page without our eyes swelling up. It’s bound to be the best collaboration I ever participate in.
This video is a rather limited document of a performance that James Weiss, Ryan Bair, and I did in early 2010 at Like the Spice Gallery in Brooklyn, NY.
The following images are from a collaboration that I started with my super sister, Laine, who is, among other things, a great baker.
I’ve always been interested in sending mail (and receiving it, as well). The following images are collaborations that happened through the mail starting with a small piece of watercolor paper. I sent these to several people; surprisingly, the people who were most responsive were under the age of twenty. These examples are from Elizabeth Perry and Sacha Joseph.
Dan Talley and I have a work-in-progress which we may never really progress on, but it was fascinating to collaborate on and read the stories that people sent us for our first installation together. I’ll include a shot of the website that Dan set up to begin collecting the stories. In the end we installed a table, two chairs, a sound system (with our voices reading the stories), several images, and a box for new stories in Kutztown and Brooklyn.
One of my closest friends in Bethlehem is Tien Nguyen. He is also one of the most talented musicians I know. Somehow during one of our conversations we began conjuring up a foosball-like musical instrument. The idea was to create something that allowed the players to have control over part of, but not all of the sounds that the audience heard and to give them the ability to constantly create something unexpected and unplanned. Here’s a sketch from our collective head.
Before my Master’s degree in Art Education came to a close I wrote a paper and made a video about people who were in some way visual artists, but who had limited or no vision. I did most of my work with my friend, Nathanaiel, who I’ve known for most of my life, but who has been a friend of mine since high school. The letters that he sends me (in brialle) have impacted my artwork quite a bit and making this video certainly made a huge impact on my research at KU.
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