Full Sails is a cash donation accepting machine located at the Santa Cruz Museum of Art and History.
This kinetic sculpture uses vacuum suction and IR sensors to create a dynamic and interactive way for the public to donate cash to the museum.
Convey is intended to be simultaneously suspenseful and soothing as alluring handmade marbles tumble chaotically in the insensitive system. This work functions metaphorically through embracing futile endeavors, appreciating present moments, and dismissing attachment to outcome.
Pace challenges the pace at which people interact with the world around them. This work has a meditative quality as steel weights rhythmically click and clack along the spokes of the spinning bicycle wheel. However, if spun too quickly, centrifugal force throws the weights to the edge and no sound is produced, rendering the noisemaker useless. Pace urges viewers to appreciate the charming everyday subtleties that surround them and consider the possibilities that present themselves when sufficient time and care is applied.
This workbench sets the stage for a suspenseful drama between a vulnerable pane of glass, and a pile of handcrafted solid glass hammers. The gestural piece is precariously stretched and trapped within a steel circle of hooks and springs that challenges viewers to re-evaluate their own definition of stress. The glass is emotive and tense, and as a result takes on lifelike characteristics. This quality prompts the viewer to ironically feel sympathy for inanimate matter.
In contrast to the suspended form, the pile of glass hammers is comfortably located to the right. Relations between these adverse objects made of the same fragile material pose questions about function, ritual, and purpose. This work is intended to be humorous, and empathize with individuals who suffer from stress.
Pinball shooters instantly claim this obscure object as a game. This game has no labels, rules, definitions, or obvious ways of claiming victory but urges to fire the ball are undeniable. Duel is a dysfunctional game in which cadence and camaraderie take precedence over competition.
Interactions between these springs, the brush, and a piece of strained glass delicately defy definitions of past, present, and future moments. This work is intended to humorously evoke suspense as viewers grapple with questions regarding the scene's ritualistic, scientific, or absurd purpose.
“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.”
John Cage
Booming channels of sound emit from the gallery as horns honk and screech in sync with fits of laughter and surprise. Noisemakers were a year-long project which manifested in two exhibitions showcasing instruments that are made of glass, copper, and pneumatic equipment. These sculptures lie dormant until someone plugs the leaking line with his or her finger, at which time the horn will pressurize and project a heavy squeal. Most of the Noisemakers require two people to make them function. These tactilely stimulating exhibitions raise questions regarding camaraderie, dependency, and collaboration as viewers experiment with these unconventional objects. Evaluating noise versus music is completely subjective, Noisemakers assert that appealing sounds can be found in the most unexpected venues if one simply remains perceptive.
CODE AND CANVAS GALLERY, SAN FRANCISCO, CA
Curated by THINK MAKE TANK
Suspense is a key factor whenever waiting is upon us. The kinetic sculpture that I make play with ideas of tension, gesture and anticipation. The simple act of waiting is what gives the artwork life.
