Happy Spring 2017, the Year of the Rooster! You may ask what that has to do with glacial erratics, and I answer that the rooster celebrates another event in the cycle of my Erratics installations, articulated sculptures that refer to geological history. The first was twenty years ago, all the way back in 1997, at the Center for Maine Contemporary Art in Rockport. There have been five sightings since then, the two most recent at Beech Hill in Rockport in 2015 and in Farmington in 2016. So the glacier is picking up speed.
Last year, Sarah Maline, Gallery Director at the University of Maine in Farmington, invited me to participatein Residue, anexhibition of works by Maine artists who recycle and reinvent found materials and images. Sarah suggested that I use all three of the gallery levels at the University of Maine to make a flow of builder's paper erratics that dropped from the upper level catwalk and appeared to continue through the floors to the entrance level.
What a great challenge! I reached back into my own history to recycle materials from previous installations.
The long strips falling through the builder’s paper articulations were part of Reading the Landscape, my solo exhibition at UMF in 1998. All of those strips had been recycled from large drawings used in an 1996 installation at Blue Grass Airport, Lexington, KY, The strips are also part of the illegible signage panels on the catwalk and first floor, and these in turn had been part of an exhibition at Galerie Hertz, Lousiviille KY, 1997. The visual impact of other works in the exhibition determined my choices of which materials to use where. The exhibition as a whole brought to mind a Wunderkammer that was big enough to travel through, with vintage bicycles as the vehicles.
Please enjoy the images below of Roadside Erratics and click through for videos of that installation and two previous Erratics.
The primary material for the Erratics articulations is builder’s paper. The rose colored erratics on the upper level catwalk are the most recent materials, dating from 2014. The gallery’s second level contains the richest textual history and materials dating from 1997. The ground floor material seen above also dates from 1997, but this is the first time it’s been used in an installation.
Materials: builder’s paper, archival tissue, shellac, acrylic paint, charcoal, collaged and assembled strips from earlier installations, collaged birch panels.