A series of shaped, artist-made frames designed to augment the content of text clippings, collage, and assemblage elements.
Synterials
Garden Study (Pollination of Devonia)
2002
computer-cut mat board, etched glass bearing the word “re member,” mustard seeds between three layers of glass and copper tape with patina in constructed wood frame; watercolor, ink, Craypas, tempera, charcoal and blood on two pages from Ovid’s Metamorphosis, with collage on 19th century engraving; tempera and watercolor over Xerox transfers (text from Genesis 1- 3, & 26) on 19th century book end pages
55.375 x 22.625 x 1.25 inches
2002
computer-cut mat board, etched glass bearing the word “re member,” mustard seeds between three layers of glass and copper tape with patina in constructed wood frame; watercolor, ink, Craypas, tempera, charcoal and blood on two pages from Ovid’s Metamorphosis, with collage on 19th century engraving; tempera and watercolor over Xerox transfers (text from Genesis 1- 3, & 26) on 19th century book end pages
55.375 x 22.625 x 1.25 inches
photo credit: Tom Young
Garden Study (Pollination of Devonia)
[detail; left]
note: the first two elements created during the Big Bang: Hydrogen and Helium, over text from Genesis 1- 3, & 26
note: the first two elements created during the Big Bang: Hydrogen and Helium, over text from Genesis 1- 3, & 26
Garden Study (Pollination of Devonia)
[detail; near left, abstraction over Ovid's "Metamorphosis"]
Garden Study (Pollination of Devonia)
[detail; bridge center, sandblasted glass]
Garden Study (Pollination of Devonia)
[detail: bridge center verso, Walt Whitman text]
Garden Study (Pollination of Devonia)
[detail; right, the elemental composition of the human body; watercolor interpretation of "Devonian Forest Scene," from Charles R. Knight's "Before the Dawn of History," 1935.]
Garden Study (Surrender to Vastness)
2002
computer-cut mat board; 19th-century stereoview; watercolor on 19th-century book end pages; tempera on book end-pages circa 1880 with Xerox transfer; mustard seeds between layers of glass, copper tape with patina, mounted in artist-made wood frame
14.5 x 67.25 x 1.75 inches
2002
computer-cut mat board; 19th-century stereoview; watercolor on 19th-century book end pages; tempera on book end-pages circa 1880 with Xerox transfer; mustard seeds between layers of glass, copper tape with patina, mounted in artist-made wood frame
14.5 x 67.25 x 1.75 inches
Garden Study (Surrender to Vastness)
[detail; bottom]
Garden Study (Surrender to Vastness)
[detail; icebergs, watercolor]
Garden Study (Surrender to Vastness)
[detail; stereo view and typed pages]
Garden Study (Surrender to Vastness)
[detail; stereo view]
Garden Study (Surrender to Vastness)
[detail; typed page]
Garden Study (Conflict of the Heart)
2002
2002
computer-cut mat board; watercolor on book end-pages circa 1880; pen, ink and tempera on a postcard postmarked 1909; pen, watercolor, tempera and Xerox transfer (of 19th-century Astrology textbook introduction) on book end-page c. 1880; mustard seeds between layers of glass and etched glass, copper tape with patina mounted in constructed wood frame.
33 7/8 x 29 ¾ x 1 ¾ inches
33 7/8 x 29 ¾ x 1 ¾ inches
Garden Study (Conflict of the Heart)
[detail right]
Garden Study (Conflict of the Heart)
[detail; top]
note: etched glass over watercolor landscape reads:
"sterile promontory"
note: etched glass over watercolor landscape reads:
"sterile promontory"
Garden Study (Conflict of the Heart)
[detail; left]
note: etched glass over watercolor landscape reads:
"foul and pestilent congregation of vapors"
note: etched glass over watercolor landscape reads:
"foul and pestilent congregation of vapors"
Garden Study (Conflict of the Heart)
[detail; bottom]
note: etched glass over mustard seeds reads:
"quintessence of dust"
note: etched glass over mustard seeds reads:
"quintessence of dust"
Garden Study (“A”merican Sublime: Pioneers of New Eden)
2004
two diptych puzzle-piece collages using 19th century paper and The Scarlet Letter remnants (Nathanial Hawthorne 2nd Edition, Riverside Press Cambridge MA 1878, Illustrated), with 20th Century matte and glossy paper, Filmoplast P90, pencil and lead letter type transfer, Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889, Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850, mustard seeds, glass, etched glass, copper tape with patina, 19th century stereoview postcard (“View of Salem and Vicinity ”) archival matt, in handmade (“bent”) frame that turns 90º in order to reside in both sides of a room corner.
Each half of the bent frame measures 20.625 x 23.25 x 1.625 inches
2004
two diptych puzzle-piece collages using 19th century paper and The Scarlet Letter remnants (Nathanial Hawthorne 2nd Edition, Riverside Press Cambridge MA 1878, Illustrated), with 20th Century matte and glossy paper, Filmoplast P90, pencil and lead letter type transfer, Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889, Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850, mustard seeds, glass, etched glass, copper tape with patina, 19th century stereoview postcard (“View of Salem and Vicinity ”) archival matt, in handmade (“bent”) frame that turns 90º in order to reside in both sides of a room corner.
Each half of the bent frame measures 20.625 x 23.25 x 1.625 inches
“A”merican Sublime: Pioneers of New Eden
[left]
Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889
Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889
A”merican Sublime: Pioneers of New Eden
2004
Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850
2004
Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850
[right]
“A”merican Sublime: Pioneers of New Eden
2004
Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889
2004
Arthur Dimmesdale’s collage (left side of frame) is translated from Ralph Albert Blakelock’s painting entitled, “The Spirit of Night,” 1889
[left]
note: stamped text on the collage reads:
"joy unutterable"
note: stamped text on the collage reads:
"joy unutterable"
“A”merican Sublime: Pioneers of New Eden
2004
19th century stereoview postcard (“View of Salem and Vicinity ”)
2004
19th century stereoview postcard (“View of Salem and Vicinity ”)
[center]
notes:
• stamped text on stereoview reads:
"cost"
• sandblasted text on Dimmesdale’s side reads:
"Dost thou yet live?"
• sandblasted text on Prynne’s side reads:
"Art thou in life?"
notes:
• stamped text on stereoview reads:
"cost"
• sandblasted text on Dimmesdale’s side reads:
"Dost thou yet live?"
• sandblasted text on Prynne’s side reads:
"Art thou in life?"
“A”merican Sublime: Pioneers of New Eden
2004
Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850
2004
Hester Prynne’s collage (right side of frame) is translated from Fredrick Edwin Church’s painting entitled, “Twilight Short Arbiter, Twixt Day and Night, 1850
[right]
note: stamped text on collage reads:
"beneath the open sky"
note: stamped text on collage reads:
"beneath the open sky"
“A”merican Sublime: Pioneers of New Eden
verso, left (behind Hester Prynne)
“A”merican Sublime: Pioneers of New Eden
verso, right (behind Arthur Dimmesdale)