Noon for a Midnight Snack, 2018
Noon for a Midnight Snack, 2018
Dawn of Ethan for Nicky, a performance collaboration.
The two tables are in the same room, and the mirrors aren’t perfect, but I wanted to see “Harrison Ford” the performer go on a date with himself.
I was thinking about the officiallity of this kind of story telling, how it relates to the moving image, moving readability, and a craning stage.
The very important fly was alive in the bathroom of the house I stayed at in Atholl, Scotland and when I found it dead on the tiling I put it inside a cigarette box to take home.
Dawn of Ethan for Nicky, a performance collaboration.
The two tables are in the same room, and the mirrors aren’t perfect, but I wanted to see “Harrison Ford” the performer go on a date with himself.
I was thinking about the officiallity of this kind of story telling, how it relates to the moving image, moving readability, and a craning stage.
The very important fly was alive in the bathroom of the house I stayed at in Atholl, Scotland and when I found it dead on the tiling I put it inside a cigarette box to take home.
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. I’m a great place for you to tell a story and let your users know a little more about you.
Manufacturing
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. I’m a great place for you to tell a story and let your users know a little more about you.
Manufacturing
I decided to cast my entire body as a means of creating a sympathetic recreation of the space I inhabit. The process of life casting, though infrequently elaborated on, is a large part of why the method resonates so strongly with me. The procedure of being molded feels like having a space around you that fits perfectly in every direction, once fully encased, a sense of profound closeness to your own skin occurs; like an atmosphere of your own negative, concluding in knowing what it feels like to be embraced in a perfect mirror of texture, which will then become shape.
The story of Lot and his Wife from Genesis 19 describes the instruction from God to both characters to flee a city he is planning to destroy by his hand. They were informed that if they both left and did not turn back they would be safe from annihilation. However, Lot’s wife, who was still attached in some way to the doomed city turned to look back and was instantly transformed into a pillar of salt.
The material I chose to cast in is table salt and I selected this material because of its frequent occurrence in the world, its inclusion in meals, and its connection to a natural process of life.
My own body is my action to empathy and it also becomes connected to the places I inhabit. This act of replication and place holding is not to look back in regret at the places I have been, but rather to acknowledge a lasting displacement of a body no longer present there.
These pieces are the transitional installation view of this 3 year-long project that is ongoing, in which my salt-cast body was divided it into 24 pieces and mailed or hand delivered to 21 of the 24 addresses. 20 were sent domestically via the US Postal service, which is documented in 20 unique tracking numbers and zip codes on a 46” long receipt, and the package that contained the piece of my left chest I delivered in person to Skipness, Scotland and left inside a Kirk that was built by a McDonald in the 17th century.
The package I sent to myself domestically, and will never open, contains the piece of my right chest.
There are three remaining packages that will be delivered to Santorini, Greece, San Jose, Costa Rica, and Rome, Italy.
Responses thus far have come in the form of Facebook messages, letters,
phone calls and text messages. These are culled and archived in the digital documentation of this project on my website
