WORKS ON PAPER
Proposal Drawing for Everland Café
2014 — 24" x 36"
graphite and white colored pencil on grey toned paper
In the Everland Café, it is aways 10:30 in the morning. Every cup, plate, bowl, fork and knife, features food-safe custom surface treatments such that each of these objects "hold" the light and shadow falling on them from the window at 10:30 AM. When you, as a diner at the Everland Café, pick up your cup, the shadow cast by the cup onto it's corresponding saucer (and onto the table surface below) remains imprinted in the saucer. As a fully immersive and functional installation, the plan includes light and shadow modification of the floor, walls, chairs, and tables as well as all tableware items. Thanks to the support of curator Julie Rodrigues Widholm at The Museum of Contemporary Art, Chicago, the MCA's café space served as the source image for this 2-part proposal drawing. A total of ten items in the drawing can be removed, so that viewers interacting with the drawing can experience what it feels like for the shadows of these objects to remain in place after these items are relocated.
Proposal Drawing for Winter Azimuth
2013— 19.5" x 25.5"
fine point pen and colored pencil on grey toned paper
Untitled (Los Talleres de San Miguel de Allende)
2013 — 20" wide x 13.6' long (including floor, wall portions)
powdered graphite and pigment on excavated paper surface
I began by cutting the paper to slightly larger than the dimensions of the sunlight spilling into the space at 10:30 in the morning. For me, carving into the surface of my paper represents a mark that cannot be erased, an insistent way to capture the ephemeral. As I tried to both replicate and abstract what it looks like when sunlight falls on a white stucco wall and a polished concrete floor, I removed the entire, smooth top layer of the paper to reveal the softer, fibrous inside, using its greater textural quality to "hold" the powdered graphite in its darkest iteration. For the wall part, I reversed the process: I coated the paper in pigment first, and then peeled the top layer of the paper away to reveal the brighter, white inside.
Para mi, el hecho de tallar la superficie del papel representa una marca imposible de borrar, una forma de insistir en captar lo efímero. En mi intento de reproducir y a la vez abstraer la imagen de la luz del Sol sobre una pared de estuco y un piso de cemento pulido, pelé toda la superficie lisa del papel para que quedara la parte blanda y fibrosa de adentro. Usé esa rugosidad para retener el grafito en polvo en su versión mas oscura. Invertí el proceso para la parte de la pared: empecé cubriendo el papel de pigmento y luego pelé la capa superior del papel para revelar el blanco mas claro de adentro.
Anthology of Emphases
2011 — 8' x 16'
paper fragments on foamboard spacers,
interior latex on drywall
2011 — 27" x 13.75" (approx)
chalk pastel on arches/rives on spacers, interior latex on drywall