The Long Object (this image on my desktop for 7 months)

The Long Object remains, yet removes itself from itself over and over again. As a sculpture it changes, it moves through new states undetermined at its inception. These new states can be as subtle as the differing positions it takes on the floor, the kind of piling it replicates and the layering it negotiates. Its fixed place is always brief, temporary and this doesn’t reveal more about the object itself so much as present an object that is open to characteristic that can’t be foreseen. In this way the long object does not stop, it continues in ways that cannot be scripted.

It is the specifics of the sort of forces that might make a thin branch wiggle, that consider media/medium as transport, as places or holdings for an object to travel, to consider again and again a state of being and look at what outside forces bring change, and dispel any claim on a fixed identity. These changes might be formal and the object might appear to be consistent in its appearance, but ultimately the object is a set of terms, a place of inquiry, an embodiment of the specifics for which a form can move forward.

In this case it is a forward moving state of vulnerability alongside formal play that creates a consistent force --the thin branch in the wind—with mutability in how it strategically leaves room for this wiggle, for some definition of it to be yet unseen.

The Long Object (this image on my desktop for 7 months)

The Long Object remains, yet removes itself from itself over and over again. As a sculpture it changes, it moves through new states undetermined at its inception. These new states can be as subtle as the differing positions it takes on the floor, the kind of piling it replicates and the layering it negotiates. Its fixed place is always brief, temporary and this doesn’t reveal more about the object itself so much as present an object that is open to characteristic that can’t be foreseen. In this way the long object does not stop, it continues in ways that cannot be scripted.

It is the specifics of the sort of forces that might make a thin branch wiggle, that consider media/medium as transport, as places or holdings for an object to travel, to consider again and again a state of being and look at what outside forces bring change, and dispel any claim on a fixed identity. These changes might be formal and the object might appear to be consistent in its appearance, but ultimately the object is a set of terms, a place of inquiry, an embodiment of the specifics for which a form can move forward.

In this case it is a forward moving state of vulnerability alongside formal play that creates a consistent force --the thin branch in the wind—with mutability in how it strategically leaves room for this wiggle, for some definition of it to be yet unseen.