SCULPTURE
linear forms: flowers
wood.wire.paint.
cubes.
mixed mediums
recl.I.AM. series: sea-bricks.
found sea-bricks. bricks.
recl.I.AM. series: gallery installation
found objects, wall paper, concrete, paint
trees.
resin. fiber glass. tube lighting. wire. hardware. newspaper. paint-pen. plaster. jumper cables.
INSTALLATION.
altering environment: tree paths.
yarn.
co-produced with B.F.
TEXTS.&.VISUAL NARRATIVES.
Untitled.
found objects. paint (acrylic, latex, house). pencil. charcoal. plexiglass. tube lighting. cotton. thread. mirror. wood.
one unlike before,
Something was lost
in the march towards more
Now lost in pavement,
or amongst the leech of this rock,
Chained to progress,
trapped by the clock
Concepts of beauty,
the elusive self,
How the conscience doth mock
the illusions of wealth
But it has to be here
hidden in constructed reality,
Of this gray gilded age-
Oh, equivocal Industry!
To all those who cry
“The center can’t hold”,
Where was your “conviction”
when It was let go?
But the chase is in motion
By the wide eyed few,
To recover what only
yesterday knew
So stay true to the course,
understanding in sight,
Illuminate with hope
And find It in light
architecture of industry
excerpt from photo essay.&.images.
The inherent tension between progress and its reciprocal consequences within industrialized societies is not a novel concept. This dialect has been explored across many disciplines and is inescapable in the realities presented daily in modern life. Within this complex evaluation of the human condition in the face of modernization resides the issue of poverty, and more specifically, homelessness. True progression would seem to imply universal improvement for all people of a society. The former being indisputably false, evidenced in the established transient population across all civilizations, forces a question: is modern industry simply unprofitable to a faction of citizens, or does it erase these people from consideration within the social contract all together? In “Architecture of Industry” I attempt to illustrate this inherent tension between modern achievements and resulting consequences by examining concern for transient populations in society; for the most part they are rendered nearly invisible if not a stain on the larger picture of progress. Amongst the sexy modern creations of industrialized nations, residentially displaced are often assumed to be less deserving of space then architectural structures. It is no wonder then that transient population literally become part of the landscape. It had become evident some time ago that homeless individuals are no longer regarded as conscious human beings in the modern context; they are as much a part of an industrialized landscape as a lamppost, a street sign, a trash can, a tree. They echo the shapes, assume the postures, and blend chromatically to the forms and timbre of the street. As one steps around an inanimate obstacle subconsciously, so too do we dodge a homeless person, often without realizing it- or with only a slight pang of awkwardness. My intention in this collection of photographs is not to assume righteousness and shift blame, far from, but rather to illuminate the astounding phenomenon that has occurred in modern society; one that has transformed living, breathing beings into part of a industrial landscape.
MIXED MEDIA: PAINTING. DRAWING. COLLAGE. ASSEMBLAGES.
PERFORMANCE.
exposed.
photos by M.Q.
you are loved.
Gaslamp, San Diego, CA
photos by S.H.
the self: beneath the surface
photos by S.H.
