Tony Jones
007: Towers for a Construction Site Gallery
The time spent within the construction site was extremely beneficial. While completing these pieces, I was able to familiarize myself with the tools, workers, and day-to-day ambiance. Upon further reflection, there were a few obstacles to consider. Exposed tools were generally difficult to find and unlimited access to the sites was virtually impossible. However, as I continued my research, I noticed that the wood pallet was the most readily available material. I intended to use the pallet as a building material. If I was to continue transforming the construction site into an exhibition space, I needed to build structures that mirrored the grandeur of the typical art museum. In order to put this idea into action, I decided to initiate Towers for a Construction Site Gallery.
As noted in my last work, I believe that the role of the construction worker is greatly undervalued when compared to museum-based artists. It would be difficult to imagine artwork, even conceptual or non-wall based works, without the protective sanctuary of museum walls. Often, the importance of the wall goes unrecognized. The construction worker is never valued as a preservationist or caretaker of art culture. Yet, where would one go to observe art if there were no walls to provide structure?
This exhibition required an extensive amount of time and technical skill. My first experiment (refer to Tower #1) was simple and straightforward. I gathered and stacked 12 pallets in an upright configuration. All of the pallets used in Tower #1 were new and sturdy. As I would discover in future experiments, new pallets allowed structures that were consistently durable. By Tower #5, I used pallets that were both new and dilapidated. Older pallets, although not as durable, produced towers that contained enhanced textural qualities and overall character. I enjoyed the challenge of working with dilapidated pallets because the resulting tower assumed the appearance of a crafted original.
By Tower Series #9, I began to implement the construction of multiple towers. Although I continued the trend of completing structures during off hours, the construction workers acknowledged my creations. In fact, they began leaving additional pallets in order to contribute to the body of work. By offering encouragement, the workers reinforced my commitment to the project. By Tower Series #14, I had created pallet towers that rose above and beyond my original expectations. Over the course of a year, I completed 24 versions of the project.
Throughout the entirety of art history, the construction professional would make exclusive structures for the benefit of the artist. Towers for a Construction Site Gallery reverses the significance of the undervalued craftsman. It may be the first instance when an artist, under a veiled cloak of obscurity, created structures for the viewing pleasure of the construction worker.
The time spent within the construction site was extremely beneficial. While completing these pieces, I was able to familiarize myself with the tools, workers, and day-to-day ambiance. Upon further reflection, there were a few obstacles to consider. Exposed tools were generally difficult to find and unlimited access to the sites was virtually impossible. However, as I continued my research, I noticed that the wood pallet was the most readily available material. I intended to use the pallet as a building material. If I was to continue transforming the construction site into an exhibition space, I needed to build structures that mirrored the grandeur of the typical art museum. In order to put this idea into action, I decided to initiate Towers for a Construction Site Gallery.
As noted in my last work, I believe that the role of the construction worker is greatly undervalued when compared to museum-based artists. It would be difficult to imagine artwork, even conceptual or non-wall based works, without the protective sanctuary of museum walls. Often, the importance of the wall goes unrecognized. The construction worker is never valued as a preservationist or caretaker of art culture. Yet, where would one go to observe art if there were no walls to provide structure?
This exhibition required an extensive amount of time and technical skill. My first experiment (refer to Tower #1) was simple and straightforward. I gathered and stacked 12 pallets in an upright configuration. All of the pallets used in Tower #1 were new and sturdy. As I would discover in future experiments, new pallets allowed structures that were consistently durable. By Tower #5, I used pallets that were both new and dilapidated. Older pallets, although not as durable, produced towers that contained enhanced textural qualities and overall character. I enjoyed the challenge of working with dilapidated pallets because the resulting tower assumed the appearance of a crafted original.
By Tower Series #9, I began to implement the construction of multiple towers. Although I continued the trend of completing structures during off hours, the construction workers acknowledged my creations. In fact, they began leaving additional pallets in order to contribute to the body of work. By offering encouragement, the workers reinforced my commitment to the project. By Tower Series #14, I had created pallet towers that rose above and beyond my original expectations. Over the course of a year, I completed 24 versions of the project.
Throughout the entirety of art history, the construction professional would make exclusive structures for the benefit of the artist. Towers for a Construction Site Gallery reverses the significance of the undervalued craftsman. It may be the first instance when an artist, under a veiled cloak of obscurity, created structures for the viewing pleasure of the construction worker.