, , , ,

This is the second “time capsule” post, highlighting some of the artwork I did around the turn of the millennium. See the first post on my Bitstream series.

For those following along, of the materials I had used in the Bitstream series, I was most captivated by plexiglass. At work I became known as the plexiglass guy because I would walk in with found plexiglass a lot of the time. I discovered that it’s good to be known for obsessions, because it’s easy for people to be nice to you since they know exactly what you like. Case in point, a friend of a friend was moving into a new office, and the previous tenants had left a 4′ x 8′ x 1″ slab of plexiglass behind. Since she knew about “some guy” that loves plexiglass, I was given first dibs to pick it up. Of course I said “yes” and recruited a colleague to help me bring it to the office. Well, it turns out that a 1″ thick sheet of plexiglass is really heavy. So here’s me and this other guy walking up 5th Avenue near the Flatiron with this 4×8 foot sheet of plexiglass. I’ve done a lot of things to get weird looks, but this was the first time the weird look was followed by very fast dodging! We were like a semi-truck lurching down the sidewalk, and I think people knew based on the strained look on our faces that we weren’t stopping for anyone.

Needless to say we managed to bring that monster into our office without harming the plexiglass (or any people), and the boss was kind enough to let me keep it there until I could figure out how to transport it to my apartment. I eventually realized that I had no choice but to cut it up. This was troubling for me, because how could I possibly know at that time how I was going to use it? Well, I had to roll the dice and do the best I could. I sketched out some rough ideas, worked out dimensions, and came in one weekend with a circular saw. Most of the plexiglass I had worked with up until then was 1/4″, which is easy to cut. It gets a little hot, but it’s not too big of a deal. One inch plexi is a different story altogether. My poor circular saw had a heck of a time as the blade would heat up, melt the plexi, get thrown about, and then cool on the blade. This process had the unfortunate effect of jamming up the saw pretty badly. So then I had to stop cutting, wait for the blade to cool off, use a screwdriver to pry off the stuck plexiglass on the blade (all the way around), and start over. Not only was it tedious, but the screech of the blade and the fumes generated by the melting/smoking plexiglass made for quite a hostile environment. Thankfully, when I’m hyper-focused tedium disappears while my tolerance for horrible conditions increases dramatically. It’s remarkable that I didn’t set off any fire alarms or piss off the neighbors. I do remember people coming to work on Monday wrinkling their nose and asking what that awful smell was, not to mention where all those while plastic flecks came from. I tried to be nonchalant about it, but I’m pretty sure they all knew who the culprit was.

Artist Statement

What is the relationship between the mathematical concept of the identity and the language concept of identity? In math, I is the identity if for any A, I * A = A and A * I = A, where * is some operator. This series attempts to juxtapose the meanings of the two identities, whereby the distinction must be made when viewing the piece: which participant is the identity?

Embedded within this discussion of the identity is the classic dialectic between Parmenides and Heraclitus; one must ask what is the significance of change and not change when interacting with the piece?

identity 7D0.2 (tribute to eva hesse)

Date: 2000
Materials: Aluminum, steel cable
Dimensions: 2′ x 2′ x 8′



identity 7D2.2

Date: 2002
Materials: aluminum, plexiglass, steel cable, bolts
Dimensions: 3′ x 3′ x 5′



identity 7D2.3

Date: 2002
Materials: plexiglass
Dimensions: 1344 mm x 742 mm x 24 mm



identity 7D2.B (in perpetuity)

Date: 2002
Materials: plexiglass, mirrors, steel cable
Dimensions: 1340 mm x 742 mm x 43 mm