Soft geography (after Christo and Jeanne Claude)

Geotextiles are used at glacial tourist attractions and ski resorts. Essentially enormous, reflective blankets, they are put over ice in the summer. In a gesture at once naive, tender, and seemingly futile, their purpose is to slow accelerating glacial melt. Unfathomable at any larger scale than a single ski hill, geotextiles are literally geologic bandages.

These images are speculative installations inspired by the the futility and softness of geotextiles, augmented to the awesome (i.e. awe-inspiring) scale of landworks, and are the basis for larger, on-going projects. 

2022 - ongoing

Speculative photographs created with photographs, Photoshop, and MidJourney

Absconding from urgency

This is a sculpture created from clay, metal, and prints repurposed from other works. To create the prints, I searched the creative commons for photographs of the Athabasca glacier spanning from 1940 to present day. I stitched them together using Photoshop’s image stitch function, which predicts each photo’s most likely neighbour. This created a “speculative” landscape of the glacier, which spans not only distance, but also time. I then printed this image on photolithography plates, and deconstructed the landscape once again by cutting it up and reinstating it into 3D space in this sculpture.

Twenty Inklings, A Broken Double Helix, Absconding from Urgency, 2023


58 x 32 x 29 inches

steel rod, rivets, repurposed UV prints on steel, repurposed UV prints on reclaimed emerald lithography plates, clay, copper

2023

seires of 3 UV prints on reclaimed lithography plates

30 x 14.5 inches

2023

UV print on reclaimed lithography plate

13 x 24 inches

As above, so below

2023

rust, Arches paper, ashes, Gator Board, bamboo, polyester cord

part of a group show The mystery of things that increase as they perish with Lauren Chipeur, Eli Horn, and Zoe Koke at shedshows in Austin, Texas. 

Boundary Objects

2022

From Painted Hooves, the 2022 MFA thesis show at The University of Texas at Austin

Photos by Alex Boeschenstein

Sitting quietly, doing nothing

2022

24 handmade, 6” x 6”, press-molded, experimentally-fired ceramic tiles; rust print on silk organza

Photos by Alex Boeschenstein

known knowns

This work was part of the Connective Tissues: printed and published exhibition at the Visual Arts Center in Austin, Texas.

The takeaway print is based on a declassified document called Simple Sabotage, published by the OSS during the second world war.

2022

laser jet prints on mylar, pine, steel, inkjet print on newsprint.

Photos by Alex Boeschenstein.

2020

slkscreen print on silk organza, rust dye print on silk organza, wood, paper sculpture

2020

slkscreen prints on dura-lar, lithography, laser jet prints, risographs, willow glass, wood, acrylic paint, steel, tape.

Photos by Alex Boeschenstein.

2021

installation with laser jet prints on vellum, silkscrreen on vellum, risograph prints on cardstock, bisqued ceramics, glazed ceramics, blackened steel, wax, found photo frame, fake rock with suminagashi.

Photos by Alex Boeschenstein.

Morose Code

2017

Excerpt from a 12 channel, hour-long sound art project entitled Morose Code.

Installed at the Arts Commons +15 soundscape hallway, this work is a journey through time using collaged radio excerpts. This project was inspired by the following thought experiment: since radio waves travel at the speed of light, for every lightyear you distance yourself from the earth on a theoretical journey you would aurally go back in time. You would, of course, need a radio on your spaceship.

Morose Code is a condensed version of this journey: walking east to west you go backwards in time, from the 2010s to the 1930s, or away from the earth. Walking west to east brings you forward in time, toward the earth.

2019

inket prints on vellum, fishing swivels, steel

2020

Three-channel audio- and movement-reponsive video projection. Audio in documentation written, compoed, produced and recorded by Kerry Maguire.