I was quickly consumed by the magnetism of the construction site as gallery space. My work was progressing at a substantial pace.
I was also engrossed by building structures that existed outside of the commodity driven art industry. The mainstream industry can have a precarious affect on any art
praxis. This intoxication can eventually become a penetrating and unbreakable addiction.
In too many instances, prefabricated art spaces manipulate the integrity of the work within. I often have conversations about how tools and technology
condition the art making process. In actuality, there is no greater influence than the white walls of the museum. These walls transform the process by
dictating acceptable and unacceptable notions of art. It is not long before an artist begins to make work solely for the purpose of conforming within the
seductive confines of the white cube. I don’t intend to plunge into this spiral of creative stasis.
In order to further this perspective, I decided to construct my structures in open spaces. Instead of using wooden pallets inside of a construction site,I decided to use objects that were found within natural settings. This shift would lead to several conceptual observations. First, my materials assumed a renewed purity. The materials maintained the shape of living objects –
trees, branches, vines, etc. Undeniably, I altered the position of the material, but, at the same time, I intentionally preserved the natural shape found within nature.
This provided an opportunity to build structures that referred to nature, as opposed to man-made buildings (such as the museum or gallery space).
Second, the work preserved my abstention from the prefabricated white cube and continued a trend of working outside of the studio space.
As a work created in nature, An Open Space emphasized the basic requirements for making art...