Sculpture

Chosen objects that are readymade, assisted or created are thought of as sculpture. An object’s narrative, metaphoric or visual properties are considered within a process often in tandem with line marker paint. Resulting works are one-offs, in series or in multiple edition.

Portmanteau, 2014, line marker on fuel gauge stick, 213 cm x 5 cm

PORTMANTEAU refers to both the static and the transitory. As a measuring gauge it also is a temporal device, for past and present technologies; a compass for the geographic, definitive or indefinite boundaries of space and place and a cultural finger in the wind tied to oral, pictorial or written narratives tethered to the lore of the road. Considerate of the many variables impacting human and cultural behavior, PORTMANTEAU, its genus as a ‘thing’ to measure quantity is to concurrently blossom into a qualitative framework.

About Edward, 2013, vinyl, acrylic, wood frames, shelf, 24″ x 36″

From the biography exhibit, ED103, a portrait of Hines is layered with images of objects and places and text (words) surrounding Hines’ life. The frames function as windows, allowing the viewer to peer through his chronicle.

MARFITTI (Painting in the World), 2004, rotating billboard sign, 40″ x 30″ x 3″

The line marker and its relationship to graffiti as ‘painting in the world’ were first explored for the exhibition ‘Future Cities’ in 2004. This rotating billboard poses three ‘author’ portraits: Edward Hines, Darryl McCray a.k.a Cornbread (credited as the first graffiti artist) and a hybrid mix of the two.

The Death of Edward Hines, 2013, line marker on glass, light, acrylic, shelf, 18″ x 10″

A submerged light functions as both illuminated white line as wells as a white light for the viewer to walk towards.

The Next Day, 2013 – 2014, brush, bucket, snap line, shelf, 12″ x 12″ x 18″

From the biography exhibit, ED103, objects circa 1911, refer to the inaugural ways and means application of line marker paint on a road, after Hines’ perceptual breakthrough.

ATLAS from THE FOLK SERIES, 2013, line marker on tire, stand, 48″ x 36″ x 22″

A tire is repeatedly coated with line marker, set within a service station stand.

OPEN COUNTRY from THE FOLK SERIES, 2012, line marker on tire, brass wheat, 36″ diameter

The idea of an open landscape, an open territory, or here an ‘open country’ is underscored by the often ubiquitous image of foliage growing in/through tires in landfills, abandoned lots, roadsides or fields. Alongside painted line markers shards of faux ‘brass wheat complete the work, conjuring both city and country – urban and rural – concurrently.

STREETS OF LAREDO from THE FOLK SERIES, 2012, line marker on tire, aerolux bulb, 36″ diameter

The road as stage often read or seen within popular culture, is indexed through the tire’s sidewall text and an aerolux light bulb containing a rose.

In lieu of a right hand man, 2012, marker on whisk, steel scribe (R.Wells), shelf, 10″ x 10″ x 10″

A period automotive tool is attached to a armature scribe used to guide a hand.

The Terra Tattoo Series (1931, 1941, 1961, 1981), 2012, line marker on globe, text work, shelf

From the exhibit ‘Place and Space’ a series of globes circa 1931, 1941, 1961, 1981 are painted with line marker and accompanied by a text work musing on the ‘current’ visual world status of the line marker’s development.

City, Country, 2012 – 2013, street lamp, grain sack, 84″ x 30″

From the exhibit, Place and Space, an Eastern Europe grain sack with a road or line marker motif seemingly powers a North American street lamp circa 1970. The work refers to notions of urban/rural, immigration, movement/transportation and the interconnections of all.

TRANSLOCAL SERIES,1999 –

Cobblestones requested then collected from travelers, compiled since 1999, represent in a micro manner, the line marker’s ubiquity. Like miniature totems of the road, each is augmented with line marker. The glass dome or vitrine underscores each stone’s individuality within a much larger collective, mounted on ever-shifting sand. Europe is represented in this series: Rome, Venice, Prague, London, West/East Berlin, Paris.

ROVER from the series City As Image As Object As City (2016)

TOWN and TOURIST (2019) line marker, graphite on information board

JOHN D. & GIOTTO (2019) line marker on copper funnel

When the U.S.A. Highway Act of 1956 unveiled a 13-year plan for a 41,000-mile interstate highway system at a cost of 13 billion dollars, it dictated that miles upon miles of highway would be laid across the country, significantly through New York City. A sort of road requiem. What resulted was the division and corralling of poor communities; providing for the flight of the white urban middle class to the suburbs.

LIFE LINE (Two States), line marker on paper cutter (2012)

Gallery