Welded steel, 40 x 85 x 56, 1998. “March” is a month, a way of walking and a body of people moving through a city, and the sculpture’s one repeated form fits the first two. It is a long, low, dark body, eighty-five inches across and forty high, with a round basin set into the … Continue reading March
Welded steel, 49 x 39 x 67, 1998. Night Music fuses two domestic objects, a bed and a piano, and lets each interrupt the other. The bed is in the details. A rail of thin spindles ends in a ball finial at the back like a headboard or the side of a crib. At the … Continue reading Night Music
Welded steel, 36 x 36 x 36, 1998. A daydream happens at a school desk more than anywhere else: a child kept still in an assigned place, attention drifting away from the lesson. The sculpture is that desk. A broad writing surface is carried on a thick pier, a tall block stands in front of … Continue reading Daydream
Welded steel, 45 x 45 x 33, 1997. “Hidebound” is said of a mind that takes in nothing new, and the word began as a description of livestock whose skin has drawn tight over the bones. The sculpture is built for both senses. The seat is a curved sheet of steel stretched over a dark … Continue reading Hidebound
Welded steel, 1997. Nonextant. A stage is a raised platform for performance and also one phase of a longer progression, and the sculpture is built around the first meaning. A long flat plate overhangs a deep recess with a plain back wall, and the plate and the framing posts make an opening that reads as … Continue reading Stage
