|1995-1998||Cleveland Institute of Art, Cleveland, OH
Five-year Bachelor of Fine Arts Degree, Drawing
|1997||New York Studio Program, New York, NY
Five-month residency program through CIA
|1993-94||Memphis College of Art, Memphis, TN
Full-time student, transferred credit to CIA
|2002-2003||Comic Release: Negotiating Identity for a New Generation, Carnegie Mellon University, Pittsburgh, PA traveling to The New Orleans Contemporary Arts Center, New Orleans, LA; University of North Texas, Denton, TX; Polk Museum of Art, Lakeland, FL.|
|2002||Christa Donner: Backroom, Post Gallery, Los Angeles, CA|
|Body Prolitic, Delaware Center for the Contemporary Arts, Wilmington, DE|
|Flat File Show, POST Gallery, Los Angeles, CA|
|Bitch School: Artists Explore Our Attitudes Toward Strong Women, the Longwood Arts Project, Bronx, NY (wall drawing)|
Pass It On
Most of my artwork deals with issues of womens’ health, body image and identity. In my project for Hudson Valley Community College, I decided to create a site-specific work dealing with the history of women students studying science, nursing, dentistry and medicine at the school: individuals whose identities are directly linked to health and the body, among other things. To make the work site-specific in its content as well as its location, I researched the college’s history online, and spent time in the library sifting through old yearbooks and images from the college’s archives to find source material. It was exciting to find images of Claudell Dwyer, the first woman to graduate from Hudson Valley Community College, sitting among her male peers in 1957, just as it was to see yearbook photos of male students beginning to appear in the female-dominated departments of nursing and dental hygiene a few decades later. The resulting wall drawing is an exploration of the interconnectedness between students in these fields over the course of fifty years. ”Pass It On” is ultimately about the legacy of information linking one generation to the next.
|1978||Certificate, New York Studio School of Painting and Sculpture, New York City|
|1975||Skowhegan School of Painting and Sculpture, Skowhegan, ME|
|1975||B.A. English cum laude Colby College, Waterville, ME|
|2003||Mandeville Gallery||Nott Memorial||Union College, Schenectady, NY|
|RICO Gallery||Brooklyn, NY|
|1998||Mandeville Gallery||Nott Memorial||Union College, Schenectady, NY|
|1997||University Gallery||Nanjing Normal University||Nanjing, PR China|
|The Vertical Gallery||Rensselaer, Polytechnic Institute,Troy, NY|
In my work of the past 10 or so years I’ve been exploring how a sculpture or drawing comes to a stopping point, a place in the making where a balance is struck between the process and its product. The work is non-representational, but I want it to be able to refer to things in the world, to recall physical, emotional and visual experiences. In the sculpture I look for the kind of presence that is associated with formal ideas about what sculpture is – the overall form, the way it articulates space and responds to gravity, the interaction of materials. I begin by working up an underlying structure of steel that lets me generate forms quickly and improvisationally. I add concrete over the steel to develop form, volume and surface while keeping the original drawn steel line. Later I go back and remove material to uncover parts of the original structure. The evidence of this making process reveals the thinking process. I look for the form or way of ordering that will animate the piece, but I’m also interested in finding a boundary where this order verges on coming apart. In each piece I combine a fascination with the power of sculpture as object and a concern for the making process as a means of discovery.
I like siting the work outdoors because in a sense the sculptures reflect natural forces in the way they emerge, recombine, and dissipate. Siting these two pieces together creates an opportunity for the similar but independent works to talk to one another and to the natural and built environment around them. The site at Hudson Valley Community College is perfect, a space that’s at once open and intimate, with a mixture of landscape and architecture that speaks to both the gestural and the structural aspects of the sculpture. It creates a new situation, making the work more about context and less about internal relationships.
My materials – steel, wood, plasters and cement, found objects, wax modeled for bronze casting - - allow an immediacy in the working process that is important to me. The sculptures are abstract, and though I often associate particular pieces with a certain set of emotions or memories, they are not tied to a specific meaning. The pleasure or the impact is intended to be visual. The materials and process set certain limits; but within these limits, when I’m making a sculpture, I don’t have a fixed idea about how it should turn out. I respond mainly to the way it looks, the way it feels. The pieces themselves are the notes to, and results of, that process of looking and responding.
|2000 - Present||MATERIALAB
Co-founder of research entity for interdisciplinary research in architecture
-MoMA /PS1 Young Architects Series 2001 Finalist
|1998 - Present||Design Research Collaboration with the Departments of Material
and Mechanical Engineering, Rensselaer Polytechnic Institute
|1997 - 1998|| Byrns, Kendall & Schieferdecker – BKS/K, New York,
Project Designer: New York Hall of Science, Chemistry Laboratories,
Brooklyn Heights Synagogue, Duane Park Lofts
|1996 - 1997|| Oggi Architectural Products, New York, NY
Collaboration with manufacturers on the design, development and representation of experimental products and materials researching ecologically innovative methods (Manufacturers: Glass Tech – crushed glass-concrete’: Bosley Inc – Spray Metal; Feragallo Group – Lenticular surfacing)
|1996|| Project Designer: Public Works Water Treatment Facility,
Publications: Techniques et Architecture, Le Moniteur, Architecture
Project Designer: College de Thoissey, South-western France
Publications: Le Moniteur, Architecture d’Aujourd’hui
|1994 - 1995||Francois Gruson, Architecte, Paris, France|
|1993|| Yale Building Project, Habitat for Humanity, New Haven,
Design/Build – Single family house, Publications: Progressive Architecture, Design Build
Materialab – Project Statement.
“Amphibia” is an ongoing research into the relationship between human movement and flexible space. Using emerging digitized manufacturing techniques, folding surfaces are created with the intent to allow for a fluid and dynamic spatial condition, one that can effortlessly move and adapt itself to changing spatial requirements. The work is part of a series of experimental investigations into notions of a flexible sustainability that is responsive to the increasingly nomadic and fleeting aspects of contemporary life.
|2001||“Contemporary Sculpture at Chesterwood,” Chesterwood Museum, Stockbridge, MA Catalogue, photo. Curated by Linda Shearer, Joe Thompson, Rebecca Reynolds, Janis Keane Dorgan.|
|1999||“The Amoureuse View of Venus,” a site specific installation in two parts, private collection, Salt Lake City, Utah.|
|1998||“Contemporary Sculpture at Chesterwood,” Chesterwood Museum, Stockbridge, MA Curated by Rebecca Bernstein, Catalogue, photo.|
|1998||“Sculpture in the Park,” Berkshire Botannical Garden, Stockbridge, MA; sponsored by the Renaissance Guild. Curated by Ann Jon. Brochure.|
|1997||“Re-Vision: Artworks with History,” Rensselaer County Historical Society, Troy, NY. Curated by Sharon Bates. Brochure, photo.|
Oozula is a hybrid. The sculpture partly evolves from rushing water, cascading hair, draped garments and shifting views between foreground and background. It alludes to natural forms in situ yet disparate references reinforce the ambiguity.
I tend to reflect on my work long after it is completed, as a means to explore the form within the form, turning inside out. Drawing is an important part of my process. I think of the slate sculptures as drawings or, in three dimensions, as ground reliefs or outcroppings. Each piece of slate represents a mark. The entire form is built up from broken lines that are constructed together to create a topographical image that is shaded or modeled by light and shadow, and changing weather conditions. So the sculpture itself becomes a mark on the landscape, one that is both delicate and subtle in appearance.
My process is laborious and repetitive. I start out with tons of slate of varying sizes. I have a drawing that delineates the contours and perimeters of the sculpture, and that is scaled on a grid to the exact dimensions so that I can place it in the same way in the ground. Then I lay out the major axis lines of the piece. This is done with the slate. Each piece is hammered upright into the ground about three inches deep with overlapping edges to form a continuous line. The surface edges are ground and smoothed with power tools to complete the sculpture.
Although I rely a lot on drawing to work through my ideas for sculpture, I have more recently begun to use the computer. I scan and manipulate details of images of my sculpture in Photoshop. In this way, the computer simply becomes another tool or medium for me to exploit and it allows me to work with the exact representation of the sculpture. But I always return to the drawing process to resolve the final form.
|1991||Master of Fine Arts, University at Albany, State University of New York|
|1989||Bachelor of Science, The College of Saint Rose, Albany, New York|
|2003||Sculpture: A Matter of Soft and Hard, curated by Anne Ellegood
and Rachel Gugelberger,
The Artists Alliance, New York, NY.
|Thomas Lail: Cut Drawings, organized by Anna Dyson, Green Gallery, Rensselaer, Troy, NY|
|2002||Site/Non-site: Thomas Lail and Karen Mirza, Goliath Visual Space, Brooklyn, NY|
|The Brewster Project, curated by Sara Reisman, Brewster, NY|
|Night of 1000 Drawings 2002, Artists Space, New York, NY|
Pane Reflect for Silent Fringes
Notes for Pane Reflect:
1. Site as residuum- unattended remainder of space-
Smithson’s entropic (silent) fringes
2. Architecture as found material- existing marker- of site
The built = tracings of reformulated geographies. Markers that insert or sign other geographies in site/ residuum (political, economic, social)/ dialectical exam
Markers reflected fragments of trajectories:
Unhinged bracket of space, diagrams of twisted systems
Lines of mobility and access, in-between commute + infolink
Blindspots (mirrored) articulated through generative interferences
Countersite: “The so-called void of contemporary urban space is already full- charged with economic, political and cultural meaning” Albert Pope
|1975||Master of Fine Arts, Sculpture
Eastern Michigan University, Ypsilanti, Michigan
|1973||Bachelor of Fine Arts
Eastern Michigan University, Ypsilanti, Michigan
|2002||“40 Artists 40 Miles” The Arts Center
of the Capital Region, Troy, NY
Curator, Gina Occhiogrosso
|2002||“Haven” an exhibition documenting artist residency programs in the northeast, The Arts Center of the Capital Region, Troy, NY. Curator, Gina Occhiogrosso|
|2001||Sculpture Space, NYC Art Auction, Elizabeth Foundation, New York, NY|
|1993 - 2001
1988, 1986, 1983, 1981
|Faculty Exhibitions, The College of Saint Rose, Albany, NY|
|2000||“Formations” Albany International Airport, Group Sculpture Exhibition, Albany, NY|
The maiden voyage of the Queen Mary from Southampton to New York occurred on May 27, 1936. By the time of her last great cruise in October of 1967, she completed 1001 crossings of the Atlantic. The Cunard Line employed countless images and statistics to reinforce the fact that their ship was the fastest and largest vessel ever built. At 1018 feet in length it surpassed the height of the Eiffel Tower by 34’. Its 1 1/4 " thick hull plates were fastened with over 10,000,000 rivets. Placed in a heap they would make a pyramid totaling 25,000 cubic feet.
Keyed to a lower bass "A", the sirens of the Queen Mary could be heard at a distance of at least 10 miles. The reverberations keep on going and could be detected from 50 to 100 miles away. At a cruising speed of 28.5 knots the 81,237-ton ship with 3131 passengers and crew consumed one gallon of fuel for every 13 feet of travel.
"22 Links" is the second of two sculptures originating from my interest in a photograph of the forecastle deck of "Queen Mary" taken by Stewart Bale in the late 1930’s. The photograph includes a view of the exposed anchor chains which rise out of the hull and rest on two parallel rails for a distance of 22 links per rail before descending back into the ship and eventually connecting to the two 16 ton anchors. Each link in the chain is 24 1/2 inches long, by 14 3/4 inches wide and made from steel 4 1/8 inches thick. Individual links weigh approximately 225 pounds that form a 150-ton chain. The original steel chain was capable of withstanding a strain of nearly 700 tons." 22 Links", is an accurately scaled reconfiguration of one section of anchor chain. Cast in a material of minor tensile strength, the elevated cement chain lies inert, a "fossilized" image with no discernible beginning or end. In this context, the iconographic and structural vulnerabilities are emphasized.
Born 1942 in Union, New Jersey
Professor of Art, University at Albany, State University of New York
|1966||MFA University of Wisconsin; Madison, Wisconsin|
|1964||BA Brown University; Providence, Rhode Island|
|2000||“Twin Peeks,” commissioned for Albany International Airport, Albany, NY|
|1999||Rhode Island College, Providence, RI|
|1998||Weston Art Gallery, Aronoff Center, Cincinnati, OH|
|1997||University at Albany Museum, Albany, NY|
|Chidlaw Gallery, Art Academy of Cincinnati|
|1996||Binghamton University Art Museum, SUNY, Binghamton, NY|
|Foreman Gallery, Hartwick College, Oneonta, NY|
|Exquisite Corpse, Burlington, VT|
Steel wire lines welded into grids, formed into planes, curved into cylinders, stacked to make towers, grouped into fours, clustered and held in by chrome circles. Three groups of four circles contain the transparent cylindrical columns held together with zip ties, sited in front of the window wall that reach toward the ceiling, and which reference the rhythms, surfaces and modules of the space they inhabit and modify.
The formality of the arrangement is intentional and purposely straightforward. Line (ed) uses found and assembled units in multiple quantities, which repeat and build on each other to form large-scale structures that blur the lines between architecture, design and sculpture. The repetition of module reveals the familiar and the obvious and points out a cool sameness in our environments and activities that is both reassuring and unnerving.
All arrangements are provisional.
|1995-97||MA – Royal College of Art|
|1992-95||BA Honours 2:1 – Visual Arts – Camberwell College of Arts|
|1990-91||Foundation Course – Open College of the Arts|
“Whitechapel Open” – Arbutus Street Studio, April 1998. Title of exhibit “Virtual Space” 16mm black & white film installation. Silent.
“Actual Space” – group show Lower Gullbenkian Gallery, RCA 18th – 30th June 1997. Site specific film loop and sound installation. 16mm black & white print and 4 separate continuous audio tracks.
“It is better to live in a state of impermanence than one of finality” – Solo show. The Blue Room. The Royal College of Art 17th – 24th February 1997.
Work in Progress – “What I am most afraid of is ordinary everyday existence” group show, Gullbenkian Gallery, RCA 10th 19th January 1997. Video installation – 2 monitors, 2 film loops and 4 separate continuous audio tracks.
“Site/Non site” – Goliath Visual Space, New York. Site specific film and photography installation. May 2002.
Angles of Incidence
This new piece of work, commissioned by Hudson Valley Community College, questions the function of this non gallery, gallery space sited within the entrance to the photography area.
This work is a site specific photographic installation about the "process of Seeing." It explores the projected image in a three dimensional space in a direct relation to the way that the image is constructed. Every day for a month a new image will be projected onto the surface of the space. Each image will challenge the viewer to ask the following questions: what am I looking at? How do I see it? Is it fixed? What effects the way I see it? What are the variables?