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5/7/5: Japan, 2012
In the realization of senseofplace LAB projects that are placed in an art context , ideas surrounding one place are juxtaposed upon the physicality of another. This juxtaposition heightens a relationship to where you are, as it places the viewer somewhere else and identifies points of sameness between the two. Each project is meant to heighten a consciousness of, and further dialogue surrounding, ‘place’ as a concept.

For projects in art spaces, the process begins with using materials gathered from a place after spending a period of time there. These materials include found objects, but especially found imagery/photographic responses. Individual works are then organized around the chosen photos into contemporary art forms that are structured to reference cultural forms specific to the location of focus: art historical and architectural tropes; design, literature, fashion references. This series of individual works are then inter-connected to form an interdisciplinary installation, which exemplifies the experience of place as being layered. Each the piece is shown is different; each version is installed based on the specific architecture of the site. This includes the format of the media as well as the placement of the individual pieces.

 

[below] 5Scrolls, 2012
Every piece of paper I was given/bought [receipts, maps etc.] during 5 weeks in Japan in 2011, thread, other found materials. Sewn and glued. Each scroll is 2’ x 8’ and hung specific to site. This version is hung on metal pipes with magnets.

Using a Japanese art historical trope, the paper scrolls document a specific period of time and interaction within a place.

With the installation 5/7/5, remnants were collected from daily interactions over five weeks in Japan in 2011. This included every piece of paper I was given/bought [receipts, maps, ticket stubs] – which were then organized as five scrolls, using every piece. Two more scrolls reference the Edo period, with digital photos framed like paintings – using images of cultural icons fore grounded with less idealized contemporary experience.

A series of seven visual Haiku are produced based on arrangements of three [and given Haiku titles]. The photos placed together as Haiku also create a consciousness shift so not to identify a place as having one single perspective. Some of the Haiku connect photographs with other elements such as textiles found in Hokkaido thrift stores and the Tokyo fabric district. An audio fragment is used, which alludes to the installation as a whole being a poetic “translation” of Japanese into English. A video is shown of starlings in formations framed by architecture. Nature is given an important role – as it is in Japan – through the use of water[color] and earth/rocks. Some of these works emphasize tactile aspects of experience. Some refer to design elements seen in both contemporary [anime] and art historical Japanese visuals.  Another element included in one of the Haiku is a book as both documentation and art object. The books’ design format refers to the experience of place as a path, and is designed for both Japanese and English speakers. Place is seen simultaneously as local and global.

Fragments and moments are formed into a immersive layering of ‘quintessential’ descriptions, to add to a language of place.

paperscrolls