EVA Foam, Silicone, Found Chair, Digital Prints, Plastic Shoe Mats,
Hard Cover Book
25 Meadow Lane is an interactive installation that is comprised of manipulated EVA foam play mats, miniature flesh toned silicone furniture, black shoe mats and large-scale text prints. The text printed on the large panels is the poem 25 Meadow Lane written out in a trace-along template. The white book is another manifestation of the poem designed for individual intake.
This installation experiments with the role that repetition can play with regard to learning, developing memory, and alternatively, how it effects traumatic experiences. This installation takes it's title from, 25 Meadow Lane, the address of the house from which the floor blue print was modeled after. Using child-safe materials and pedagogical methods of display, this installation tackles difficult content around family dynamics and middle class issues within the mold of suburbia. The constant repetition of the poem in multiple different forms elevates the play zone that is put in place to act as the main setting.
Bass, Bronze, Wood, Steal, Paint and Hardware
The relationship between manual labor and manufactured product creates an interdependence that has developed as a result of consumerism. A romanticized portrayal of the factory worker is communicated through the process of casting work gloves. By creating a direct focus on the material of brass and bronze, a memorialize or glorify history, pays homage to these utilitarian objects. The entirety of this installation relates to topics surrounding the blue-collar labour force, manufacturing, craft and production. A minimalist aesthetic partnered with a machining process is exercised through a language of display. Sentimentality is expressed through this installation to manual work even though manual practices in factories are now obsolete. This nostalgia pays respect to the social realism occurring because of advances in technologies in the manufacturing sector.
Chip Production is an installation that derived from two pieces of solid 1’’ diameter x 12’ length brass rods. Both rods were machined down into varying bi-products. The bi-products range from rings with hollow inner diameters of 13/16”, to thin cut off rings. Through a horizontal drilling process that occurred to create the brass rings, material removal happened. This material removal takes form into differing sized chips. These chips have been sorted into four different categories of size; long, spiral strands, to approximately 5’’ lengths, to 2’’ segments then concluding with small particles of gritty swarf. Traces of the entire process have been organized on floating white shelves that have been arranged systematically by size. The manicured wall display of chips is accompanied by four, rugged steal tables that support four sets of bronze casted, machinist gloves. These gloves are static, frozen in particular working hand gestures with a patina surface suggesting an accumulation of history over an exaggerated passage of time. The long, spiral brass strands are draped over a steal stand that is also sitting in the same vicinity as the tables.
Notice of Termination
“Notice of Termination” is a work that is centered on the massive job cuts passed by the Ford Motor Company during the last four-year period of the 2000’s. In 2007, Windsor’s “The Foundry”, Ford’s Casting Plant internationally known as the WCP, was officially closed. This resulted in the laying off of 500 employees. During 2009 and 2010, Ford continued the lay offs at the Windsor Engine Plant. Out of 6,000 employees, 1,730 were left still tied to the company. Along with GM’s closure of its transmission Plant in 2010, Windsor’s blue-collar community was faced with extreme hardship and an economic implosion.
Through the layoff incentives each company had one major benefit which re-training through second career’s, lay off employee’s had the opportunity to go back to school in a trade that was in high demand. Tuition and other educational fees were covered by one of the big three. On paper this opportunity sounded hopeful for the women and men leaving the automotive manufacturing industry in Windsor. Unfortunately for most that tried reentering the educational system the drive and motivation was lost. The realization that entering the workforce near the age of retirement with no other post-secondary education and wage cuts was a cold hard reality for many Windsorites.
I took part in a 10 month trades program at St. Clair College in Windsor. More then half of the student body was second career students. The program was for a Diploma in Mechanical Technician-CAD/CAM. This program followed all the requirements for individuals apart of Second Career. The uncertainty with this new way of machining is that the technology is constantly changing. The manufacturing industry in Windsor is trying to make a come back with a broadened mind set thinking beyond automotive manufacturing to domestic and aerospace manufacturing. Through multiple discussions with my fellow class mates that suffered through the drastic Big Three layoff of the late 2000’s, the main theme that was brought forward was that blue-collar stable job’s in the manufacturing sector will never go back to how they were.
Bacteria, Agar, Petri Dish, Found Doily
Inheritance is a series comprised of multiple petri dishes, hosting bacteria covered doilies. The second hand doilies are submerged into an agar solution, which is the 'culture medium' that encourages bacteria growth. The growth period would last for the duration of a month. The crocheted doily embodies a strong and perhaps forgotten sense of domestic, social heritage. Germs embed into the thread motif constructing a visual representation linking past human contact with the specimen. Documenting the small moment in time where the bacteria engulfs the symmetrical thread structure of the doily demonstrates the decay of inherited tactile traditions.
Inheritance (Eight Pointed Cluster Stitch Motif)
Cut and Loop
Cut and Loop a fabrication of a segregated rug demonstrates a positive rendition of the actual rugs surface. The process of casting negative copies of the dismembered rug, then pouring plaster positives produces a looping cycle of replication.
Found Chair, Metal Pillow,
Exchange, investigates notions of perception; a household chair and fabricated metal pillow create an exchange with their image in space, a photograph of the pairing, reflecting back at its source. The actual domestic furnishings (chair, pillow) operate dynamically in 3-dimentional space and can be experienced in-the-round, whereas the photograph, a flat rigid plane, seemingly stands in its own space, leaning against the wall, challenges the tradition in which an image is typically viewed, while suggesting its physical presence by stepping into a sculptural world. Both objects and image are carefully composed and, together, create a spatial tension through their separation, questioning the tenuous relationship between tradition and non-tradition, object and image. Exchange references Joseph Kosuth's One and Three Chairs. 1965. Playing off of ideas surrounding language of objects as visual codes challenging perspectives on meaning and medium.
Sheet Metal, Angle Iron, Hardware
This piece is a full-size replica of a couch fabricated in steel. The frame of a couch is enclosed within the "fabric" of its entity. Examination into social constructs of physical structures in domestic spaces has been the primary concept fueling this particular work.