Barb Smith

Island
2017-2026
Imprint (one a memory of the other), Portland cement, Memory Foam, Aqua Resin. Part missing counterpart, my hand, my elbow, the heaviest memory of all. Insulation foam. Wood. Part of its container. Destroying my own image. Striking until the wheels fall off. Collecting the hardware. Yogurt cup. Basket woven from the copper wire inside my parent’s extension cords. Limitation. Deformed stone splitter, nuts. A gifted rock? Paper. Debris. Dust. Pencil markings, holes for hanging. Measurement, wall patch, artist’s tape. Level. Various small heights. For Tiny Things. Trying to be careful.

Lead tubing. Making chain, breaking knots. Plastic scrap. Being underwater, an experiment. Forced abrasion, extrusion, tape. Blasted not. Mold of the flute of a column, to my height. Wrinkles. Digging holes. Someone else’s floor. Dead Horse Bay mistake, plastic, circles, debris, screws, gold leaf. Marble core, plastic wrap, green sticker. A study of holes.

Cooking twine. Black stop, bell ringers. Someone making my brain. The inside of an egg that I ate… Salt. Rocks from the beach, buoy, silver, steel, bronze... coil pot, clothesline from kite string. Wood fired ceramic. Holding fragments. A pressed lilac. Notebook page. Duplicate rocks. Gold leaf, Walnut Point. Tiles. The back of a sculpture, missing a wing, bricks, Sculpey, paper towel puncture, the color. Unfinished ceramic, wax. Quick wood ring. Ammunition. Sawhorse. 2 x 4’s. The bag the per diem came in. Steel? Blue nipples, black door. Smashed jingle bells. A shelf from her storage unit. Walnut mountain. Walnut island. Maple wedges. Bronze shims, the edge of one shelf, the second shelf, a table. A table full of things.

Tracing paper hole. In the middle, broken chasing tool. Stacks of photos, pictures of the sticks. Measuring ourselves against a corner. BCE. Photographs of the island. Photographs of the figurines, mounts, fragments, marbles, cores, plastic wrap, debris, sticker, Naxos. The Great Door. New shoes. Soap stone, wedges, gold, push pins, foam core, rubber band, twist tie, and fire, porcelain, a ticket. A grid with my name on it. Rocks, falling through cotton ball. Broken molds, tiles, evidence of a blow. Deflated balloon. Bag holding BBs. Cubes made for a game. Fragile chain, knot parts, plastic. Ceramic shoved into itself, someone’s writing, silenced bells.

Tiles, stacks of tiles. Latex belly buttons. Directional marker. Four birds. Broken molds. Ceramic. Melted cones. The way my muscles come together. Photographs of the clay I carried. Trespassing. Photographs of the measuring sticks. Is this when we forgot them? Two, two leaves from a fig tree. One working mood stone, stain the same shape, broken hair tied. Terms of direction, fake rocks, part of an architecture. Silver rings. Pewter, glass, rocks, balls, steel, leftover copper, a romantic patina. Ovals on ovals, latex containers, nipples, gold. Playing cards. String coming, plastic, tracing paper spine, skins, leftovers.

The top of a snow globe. The rim of a plate. Stacks of holes. Cast porcelain cups. The sunset. Broken mood stones. Broken magnets, the pencil I used to draw. Foam core. Pearls, and number 20. More tiles. The remote place, columns. A stack of holes. Tracing paper, wadding. Pierced tongue depressor, porcelain vessels, the time, silicone, stolen pool chalk, a bag of mood material. Melted in pairs, silver, nickel, pewter. Sticks, wire, pin, black dye, parts of broken figurines, foam core. Sculpey. The color blue, the Aegean Sea. Make rocks, stacks of holes. Silver. The seam. Twelve with a circle around it. Screws. Two parallel lines, an arrow pointing up. My measuring stick, broken end, clothesline, memory wire. Splitting stone with wedges and shims. Dents. Bronze, goldleaf, wood. Photographs.

Vessels. So, cast porcelain, rock, wax, cotton ball, the thing called, tiles, buffing cloth, safety pin, suction cup, pearl. Mold for a column. Reassembly. Dowel rods. Double repaired vessel. My thumb. Bags of BBs, headless women.  Broken magnet. Unfired porcelain ball. Stolen collectible spoon, breakfast. From Iowa? A broken pot with paraffin wax. An impression. Columns. Plastic pieces from my coffee cup, toothpicks, mixing sticks. My finger, binder clip. Silver rings. Ceramic with my tongue. The soft cover from a pointy thing. Paper towel, nipples. A woman missing her hands. Helping… two pieces of lead, helping each other stand. Balls, rocks, tiles, chain. Stack of hole protectors. A long line, a circle. A hidden B.

The pencil I drew with. An arrow pointing up. Plastic sack, rocks. Flowers that escaped their arrangements. Clothesline, cheesecloth. That’s a touch of… blue from the bronzes I put in the sea.

Blue plastic bag for carrying our finds. Remnant from a sculpture. My version of a… Sinew. String. Maple for something else. Two silicone sheets. Lead basket. Flat rounds. Parts from a shelf. Parts from a table. Steel wedge. The angles. My favorite red coil pot. Something like Lincoln Logs. Impact? Background noise. Memory wire, steel hoop, a real clothespin. My shoes. An outlet. Gold leafed rock from Bard, two-way mirror. Thin Maple skin. Underneath. The golden egg. My prize is… This one like the other. Shelf supports. (the aftermath of) Small steps. Black stack. Blue handles, angle collection. Cement test? Fake rock. A page from the Brooklyn Rail. A figure made of BB’s. A con, a rock, a fake rock, tiles. All with various inclusions. The stacks. The sticker off a… off a… thing of thread. Reusable mold material, a point, silver, notebook paper, a spine, a stack of wax vessels. Type. Sewing thread on a bobbin. A spool.

A line, an arrow pointing up, 19, or 61 upside down, a circle, screws. Wood echo. The inside of an extrusion, magnifying glass. What’s left of the temple? A squeeze, fragments, a container, part of an earring, buttons, jump ring, a broken handle. Stacks of tiles, rocks from the beach. Steel from a fallen scaffold. Coin collection. Weather, wind, salt, shells, grass, tiles, blue, black, story. Fabric column. Someone else’s drawing material. Used sparklers. From New Year’s? Bronze gems. A stack of castoffs. Test casts. Metal tubing. A near arrest.

Hole for a spring, a fake rock. Part of an armature. Traces of. Styrofoam. Tools for a baby, an implement. Ceramics dipped in milk. Ceramics and their pairs. Back-to-back pink. Rusted nipples, silicone. Repeating misalignment. Cement backer board. Rocks, rolls, the broken rim of the plate, hot glue, rubber band, a cut lock, eraser. An attempt to organize silver fragments. Attention. The boldly locked. Stringed, quick cement, cement, steel, bronze. A hole, an impact. Cubes made for a game. Blows. Pink silicone. Clay cut in half, spread open, is my body. Stacks of tiles, tons, a sinker, a vessel, marble. A stretch. Picture of columns. A spring. A knot. Winged Victory. Broken tongue depressor. Stacks of hole protectors. Peeling, magnetic clay, porcelain, pins, plastic sack. Testing expansion. Cuts and wedges. Small container. Debris, wood, silver. Cone packs, heat, marble, atmosphere. Melting temperature. (it’s all worse) Stacks of hole protectors. Two wax depressions, plastic poles. Wooden cores. Handle, fingerprints.

Stele, organizer. Paper trays, gift tape, cataloguing the debris. Walnut Islands. Plexiglass, a box from my Iphone. Capsules. Parts of, parts of. Things that look like figures I found. Silver, chunk glass, bread. Wax, resin, latex. Sewing, tweezers, dried color. Cuttlefish, wax pencil. Hole protectors. Bricks. Bricks I made from rocks and tiles. Trying to make my own money? Columns. Glass paperweight. Pot with paraffin wax. Pewter, pewter and BB’s, rubber band. A vessel full of balls. Wood, nipples, shells, paper clay. Stacks of holes, rocks, wrapping another rubber band. Stacks of photographs. Hole protectors. Half of an impression? A collection of glaze. Shards and string. Pictures of the measuring sticks. Paper squeeze. Tuning to time travel. Chest. A wrapped cut, tiles from someone else’s floor. Something broken, reassembled. A litany of holes.

An egg I ate, a cast of the inside of an egg that I ate, steps, stacks of photographs. Where the shelves meet. Screws. An internal support, chess, bronze shim, white stretch, two gold leafed toothpicks, forming, copper, silver, steel, plastic, oval, quick cement, nickel, silver, BB’s, dowel rods, used to make chains. Twisted wire. Mixing sticks. Notebook paper, pictures of the sticks. Measuring ourselves against something. Parts of an architecture, pins, nails, two cuddling nails. Cut plaster, photograph of the island. Tack cloth. Broken chasing tool. Tray of pearls… string of pearls, memory wire. A picture of the windmill door. Inserting myself into the archeological record. Something that looks like beads. The wind. A pistachio shell, the score, stacks of holes, stacks of hole protectors, marble. Enamel. The measuring stick of his height. Marble core, saran wrap, blue glass, a chain part of a cone. A sink strainer, a loupe.  My favorite photograph of the sticks. Measuring the horizon line. The Cyclades. This rescued pencil eraser.

Chains, beads. Wood putty. Threading the needle. Piercing. The navel of the ancient world. Double repair. The way my muscles come together, fire supports atmosphere. Wrapped figures, wax, what not. Grinding wheels, arrows, tape. Gold leafed rock. Attempts at making teeth. Ceramic not allowed to finish. Women missing arms. The insides of a clock. Pearl, brick, shell. The face worn off. Iridescent glass. Gifted. Lead knot. Lead container, to breathe from a column. Three of them. A gift of a bead from a/her pocket. Attempts at direction. Wadding. Bandages, needle, muslin. The atmosphere supports… silver, the letter A. The letter A twice. Two parallel lines. Teaching sample? Things in attempt to make things that look like teeth, fake rocks. Measuring stick. String. Ash.

Pewter, to a mirror, safety pin. Parts of…. Band-Aid backing. A blow. Earring posts, parts of a necklace. Nipples not… A wrapped cut, rocks, replicas. A knot. Salt. Balloon weights, a shelf. Standing lead. Something magnetic. Attempts at making a yoyo. The inside of an egg I ate. Wadding, plexiglass, not cement, pictures of Dhaskalio. (I forget his name) A cliff. Porcelain, Mica, tiles. The hand of a figurine, broken arm. Stacks of tiles. Parts of architecture, my finger, will go through, copper chain, gold rock. Pictures of the island, sanctuary dust. Blue food coloring seal. Rock. The dress I wore. Something stuck in the seam. It made it all the way back with me. A face, a lion, a shell. A shell… a broken… a broken roof. Polishing cloth. A pot, shoved into itself, stack of tiles, on guard. Measuring stick, L brackets, clothespin spring. Indigo. Red clay business, pink porcelain, a blow. Leg. A knot? Remains of a temple.

Blue glass, walnut peak. A brush stuck with its color. Wax. Containers. Making jump rings. Porcelain. Archival tag, silver, emeralds, skin. Rubies. Cement ball, rocks. Mica, nipples, magnetic clay, marbles, stir stick, Epsom salt, slip cast, my bricks. Stacks. Thread, Sculpey, stain, attempts at making my own… currency. Over pours. The number 18 circled. An arrow pointing up. Pink porcelain, blue porcelain. Screws. Something from my closet. Tape, pencil, dirty hands. Steely hands. A hook. Smashed pipe, making a die. Compression. Some support for a vessel. A corner.

Whittled stick. Little old stick. I can’t remember where you came from.

An architecture, a small city. One thing making another. Marble dust. Bubble wrap. Alone angle. All the marks on the floor. Maple. Copper wire. Some background. Granite dust from a monument making shop in Queens, unknown letters and numbers. Gray soap stone, a test. Two blocks of clay with their insides pulled out. Bubble wrap. Parts of shelves. Directional marker. Parts of a temporary table. Steel, steel welding wedge. Maple corners. Left over. An outlet. Attempts at a direction. Pencil. A tight temperament, corner. Photographs of Island from years ago, pushpins, pencil, sketchbook paper. Cheesecloth with a hole ripped through. (we were making eyes) Two screws, and they’re… anchors. Braided copper wire from the inside, stripped from the insides of my parents. Extension cords. Holes. Holes, holes, holes. A litany of holes. Wax repair. Pushpin, pushpin, the skin from a shelf. Butterfly clip. Screw, Scotch tape.

The start. The corner. Lengthy hook, stolen goods. An elastic device. Magnets. Offerings. Blue painter’s tape.

Photo credit: Lance Brewer

Figure (follows        )
Figure (            from)
71×19×16 inches and 67×24×22 inches
Creme Rosado Marble, 2025

“Originally, Barb Smith’s memory foam figures were made through performative force. The artist physically wrestled soaked foam bed toppers into upright columns, pressing her hands, arms, and torso into the yielding surfaces until the material, hardened by resin and plaster, retained the exact impressions of her exertion (FIGURES, Memory Foam and Aqua Resin, aluminum, steel). These exertions, unrehearsed and unreproducible, recorded impact through the trace of the physical encounter in a fragile medium. As Smith notes, the term “memory foam” is a misnomer: the material forgets; it returns to form. To make it remember, she must break it. Smith has compared the indexical capture to analog photography: fleeting, contingent, and singular. The impressions of the artist’s body stand in for a figure, yet they resist figuration and reference the figure in negative space.

Smith revisits these early, ephemeral memory foam sculptures—mattress toppers soaked in plaster, wrung into upright form through physical struggle—and translates them into marble. In their new iteration, the physical impressions are painstakingly rendered by carvers, not cast in softer material, translating the artist’s past, spontaneous gestures into the slow temporality and permanence of stone. These works bring an incisive material and conceptual shift to Smith’s longstanding exploration of somatic memory and the politics of bodily trace. The sculptures’ transformation from pliable industrial material to luminous stone stages a confrontation between temporality and permanence, as well as gesture and form. The stone figures do not enter neatly into a canon of marble sculpture with classical, civic or religious referents; rather, they perform a critical intervention…”

-Excerpt from In Stone and Gesture: Barb Smith by Daisy Atterbury

Couple (after L.B.), 2024
Red Oak plywood, muslin, cotton, bb’s, running out of ammunition, remnants of gifted eyes, blue marbles from a secret beach, silver leafed pie weights, gold leafed pie weights, stand alone pie weight, one white pebble, one head from a ceramic doll, broken at the neck, sewn in a sack, whittled spider leg, standing down, handmade lead tubing, handmade lead basket, pink ceramic wedge, crazing, rescued pencil eraser, feather from my comforter, half way out the door, a nipple, two bronze shims, two gold leafed rocks from Bard, two accidental tombstones, white milk paint, two “specchi”, someone else’s paint, someone else’s gesture, porcelain double coil pot, punched, torn, salt fired, etched away, brass, clock pendulum from the flea market, a memory, Hydrocal styrofoam, wrapping from my broken left foot, compression, not being needed anymore, spooning rocks, the other nipple, half his washcloth, steel, latex, print of a Limestone votive ear from The Met, crumpled, punctured, hysteric, a year’s worth of castings, surprise finger, the end.
Dimensions variable

Photo credit: Etienne Frossard

21 W. 39th St, unit 2A, NY, NY
2021

𝘛𝘩𝘦 𝘈𝘮𝘣𝘢𝘴𝘴𝘢𝘥𝘰𝘳𝘴 is a collaborative installation of sculpture, video, sound, and painting by H.A. Halpert, Michele Abramowitz, and Barb Smith.

The exhibition is about how we physically experience art: elemental interactions, intersections, interruptions, perspective. All things I felt when I attempted to walk the arc around Holbein’s 𝘛𝘩𝘦 𝘈𝘮𝘣𝘢𝘴𝘴𝘢𝘥𝘰𝘳𝘴 in The National Portrait Gallery in London - my desire to see the anamorphic skull come into focus interrupted by my shins running into a bench.
The envelope contains a formal written request to borrow both the painting and the bench-obstacle from The National Portrait Gallery in London, but so far, it has gone unanswered.

Photo Credit: Josh Loeser

The Windmill (Amorgos, Greece), digital video with sound, 2020

Various inclusions and aggregates, Aqua Resin, Hydrocal
2020

Photo credit: Josh Loeser

Site responsive performance, handmade rocks with various aggregates and small inclusions, poem on paper, 2021 - 2024
Linden Hill Cemetery, Queens NY

Images courtesy Miriam Gallery, Josh Loeser, and the artist.

Site responsive installation
Miriam Gallery, Brooklyn, NY

The whole thing is a result of what I didn’t know about edges. What I didn’t understand about punctured breath.

I cut myself in half and discover that each side is full of the same holes. It makes me wonder what this new embodiment can teach me about love.

I run my fingers over some misalignments. I like how it sounds. How my eyes work. What is activated by light makes me wonder what the sun knows about joy and pain and our trying. How they are like dancers, so moving/moving/moving.

Photo credit: Pete Mauney

“…There may be an accumulation of somewhat small objects arranged in this exhibition, but the ‘tiny things’ that one encounters on slightly varying terms from one work to the next are the increments of comprehension and engagement with the quiet ecosystems of each artwork. Much of the work displayed can be characterized as things that are not what they initially seem to be, yet this paraprosdokian strategy takes time, and feeds the illusion of a tininess that becomes its opposite…

In ‘Object About Eyes’ the title literally refers to the physical orientation of the form as it was designed to fit a child’s face …about the eyes, among the eyes, -the space around the eyes. The interpretive possibility of the title also allows that this is a meditation on seeing (a child may be thought to innocently regard a subject in a manner that is unguarded, open). When the artist asks, ‘how does one look?’, she means, with what instrument does one examine their subject? In this case she begins with an optical device for viewing slides, but this is not yet the object about the eyes.

When Rachel Whiteread abstracted the interior space of an entire Victorian house into a massive, ghostly presence, the one-to-one relationship of her source and the result of her process relate and disconnect from one another as if a mirror image appears regardless of the departure of the subject being reflected. What we can see in the residual sculpture is more a result of what we feel, and what we remember about an absent form. ‘Object about the Eyes’ is also a cast, a negative, which has pulled its form and taken impressions of the attributes of a material surface from a space that had previously held an object. Not what was, monumentalized, but what was not, -a slight space noticed once inverted. The material echo of the object about the eyes is distinct: removal of the specialized lens from its packaging produces an indelible dischord. In the process of understanding that which has become absent, the presence of what is left preoccupies as an aural knowledge of the visceral feeling we have when a plastic object announces its friction against a tightly fit Styrofoam cavity. For an object with such an alternating soft and hard voice, the Object about Eyes provokes a sensory unconscious that becomes equally an object about ears, those gathering instruments that feel at a distance. Pay attention, the artist is saying. Listen closely to sense the things of the world and you will learn about the tendencies of eyes to look and overlook.

In many cases, upon discovering each work in this exhibition (the permission to discover a work on display is a different experience than being offered the privileges of presentation) a viewer may come to understand that the identities of these objects are first coolly subtle, but then generously responsive; we find our way in and the space of each work opens to us…”

-Except from Tiny Things by Axel Bishop

SHE PLACES ISLANDS IN A DIM OCEAN
SHE ALTERS THE STORY
SHE WATCHES WORDS ABSORB THE NIGHT

Sculpture, collaboratively written score, and performance for Ander Mikalson’s Scores for a Black Hole. Images courtesy Ander Mikalson.

Fine Art Center Gallery
University of Arkansas, 2019

The force that holds

The force that causes

The force that causes

The force that causes

The force that keeps

The force that propels

The force that causes

The force that keeps

The force from the moon that causes

The force that causes

The force that causes

The force that keeps

The force that causes

The force that causes

The force that causes

The force that causes

The force that causes

The force that causes

The force, the motion, 2018

Fragments of the process and various debris, rocks from the driveway, wood, polyurethane rubber

Untitled (family), 2018

Ceramic, bronze, extracted pencil eraser, bubble wand, stolen pool chalk, air dry clay, Aqua Resin, terracotta, mask making latex, cooking twine, baby powder

Photo credit: Jean Jacques du Plessis and Pete Mauney

Appendix

No. 1

Objects:

i. Fragments of sloughed glass, blue (seventeen), green (five), clear (several)

ii. One inlaid dish (possible lid)

iii. Plastic cage (trap)

No. 2

Objects:

i. Model of a chess scene (thirty two pieces of ammunition)

ii. Skin of a vase (in poor condition)

iii. Pewter teeth (three)

iv. Half impression

v. Portion of an inscribed rock   

vi. Metal chain

vii. Memory Foam (remnant of a figure); several smaller but equally important

viii. Piece of cloth (red)

ix. Piece of glass (red)

x. Remnant of brick pinch

xi. Joined lead links (open and undisturbed)

xii. Large wooden implement

xiii. Pottery fragment

xiv. Sacrifice group, 7 items, including a steel ring, model of bullet shell casings, weighted bags, and pewter implement (model of escape).

xv. Small dish (?)

xvi. Glass kiln fragment

xvii. Wonder wedges (four, traces of pigment)

xviii. Bronze sprue, sliced

xix. Conjoined glass links

xx. Large number of red pigment fragments

xxi. Notebook paper trays (two)

xxii. Balloon weight (new skin)

xxiii. Left arm of a female figurine

xxiv. 2-way mirror (sample size)

xxv. Portion of pewter and BB’s (two)

xxvi. Pebble, small

xxvii. One pinch pot, traces of aluminum powder

xxviii. Two pieces of wood, wedging

xxix. Circular plate, removed from No. 1

xxx. Granite core

xxxi. Fragment of red clay extrusion, traces of pencil marks

xxxii. Loup

xxxiii. Portion of sterling silver S-hook chain (poor condition)

xxxiv. Circle of an excavation

xxxv. The tip of a dowel

xxxvi. Collection of found holes (seven)

xxxvii. Hourglass

xxxviii. Bruise

xxxix. Inert screw

xl. Iron binding wire, used

xli. Remains of bronze sprues (seven expansions), same material as xviii.

xlii. Pressured lead basket

xliii. Model of felled column

xliv. Lower portion of bird shaped object, same material as above

xlv. Aqua Resin (extra remnant of a moment)

xlvi. Memory Foam

xlvii. Portion of a fabric flower, having escaped its arrangement

xlviii. Dried rose, real

xlix. Fragment of an implement

l. Self-adhesive compression

No. 3

Objects:

i. Kissing angel

ii. A wall, or, the bottom of somewhere (?)

iii. Plaster spoons (two)

iv. Paraffin wax with summer heat

v. Pieces of fluted expansion cement, nesting stuck

vi. Red clay structure with water damage

vii. Nesting pinch pots, empty (numerous listening)

viii. Chest section cut from a bronze bird

ix. Nylon disposable socks (two)

x. Steel rings, stacked (twenty one), resting (eleven)

xi. Silver cat’s eye

xii. Red clay pinch pots, skinned and filled

xiii. Two unusual forms

xiv. Canon ball mortar

xv. Graphite crucible, broken (preserved)

xvi. Cut blue square

xvii. Bruise

xviii. Aftershock

xix. Unfired porcelain ball

xx. Attempted holding (related to i.)

xxi. Bite marks

xxii. Three-legged cow

xxiii. Plastic wing fragment (Dear child:)

xxiv. Cut collection

xxv. Large number of blue pigment fragments

xxvi. Notebook paper trays (three)

xxvii. Glass wing accident

xxviii. Levitating armature

xxix. Two unusual forms, additional

xxx. Pewter bag with BB’s

xxxi. Overflow

xxxii. Burning

xxxiii. Cast baby powder

xxxiv. Pendant of metal approaching oval (see also: No. 5 object vii)

xxxv. Single cut mark (red)

xxxvi. Pewter, glass, cement fragment grouping (each the size of a pea)

xxxvii. Copper cone demonstration

xxxviii. Bobby pin

xxxix. Metal jump rings (loose potential)

xl. Pellets making place (three)

xli. Latex rings (several unfortunate)

xlii. Piece of string

xliii. Soft dish

xliv. Marble scene (twenty-one balls)

xlv. Pinch pots

xlvi. A piece of their own skin

xlvii. Plate rims, broken (eclipse simulation)

xlviii. BB’s

xlix. Open frame

l. Waiting rock

No. 4

Objects:

i. Trace of a red clay block action

ii. Blindness

No. 5

Objects:

i. Tug of war

ii. Large unfired porcelain bowl containing thread, holes, skins, and one link

iii. Portion of an invented implement

iv. Memory Foam

v. Serrated edge of a tissue (nickel silver)

vi. Bound indigo

vii. Small tile with black oval (same idea as No. 6)

viii. Latex sleeve, bottomless container

ix. Aqua Resin (remnants of a forgotten figure); several smaller

x. Several glass fragments (red)

xi. Bruise

xii. Large number of green pigment fragments

xiii. Notebook paper tray (one)

xiv. Embossed lead sheets

xv. Fourteen casts in the form of a block

xvi. Time passing (months)

xvii. Cooking twine

xviii. Buried at sea

xix. Five false toes

xx. A partial record of dust (printed)

xxi. Expansion cement

xxii. Metal spring, resting

No. 6

Objects:

i. Votive offering (small mirror)

No. 7

Objects:

i. Queen Anne’s Lace

Untitled, 2017

Memory Foam, Aqua Resin, impressions from 2 bodies

Photo credit: Kyle Knodell

Three units expanding places, bronze wedge, spine stack, chunk glass, a red state

Quick copper, quick plastic, instant concrete, quick wood, quick steel, quick aluminum balls, unfired porcelain slip, compressed gold leaf square, language ball, bb’s, gold leafed rock, cabochons, cedar, slingshot ammo, blue marking paint, 2 parts of 3, cavity of a woven pitcher, the positive of a wound

Returning echo

Mask making latex, corsage pin, ultimate fastener, memory of Easter, chunk glass, escaped flowers, attempt at complete capture, the making of a spoon, desires to be soft, The Myth of Closure, a shocked woman, expansion cement, accidental stairs, soft brick, broken seal, sky blue, Memory of a cake, a difficult extrusion, glass beads, lab grown rubies, desiccant, friendly plastic, sterling silver casting grain, evidence of absorption, pearls on the edge, red and blue, something dropped, a shocked woman, Memory Foam and Aqua Resin, pushing, letting someone in, steel splitting wedge, pouring the cavity, skinned pewter, intimate ammunition, object reenactments, muslin, evidence of unique burning, soft prop, impatience, sharpened pencil leads, the little ghosts of silent letters, a shocked woman, seal bottles by dipping tops, chunk glass with paraffin skin, attempts at self preservation, plastic pull, all about timing, wax bite, split sprue, the absence of a lid, thinking about the expression, text tile, potluck stone, a shocked woman, remnants of everything, the point, balloon weights, glass kiln fragment, pewter thorn on stainless steel scrubber,  half a snap, brain ball, lady parts, hole protector sheets, mask making latex, holding upward motion, ceramic shell mold fragment, bronze wedge, three legged cow, essence of the cemetery, a most absolute hole, hide and seek, a shocked woman, unfired porcelain on Memory Foam, the positive, crucible fragment, blue marking chalk on tack cloth, a shocked woman, a statement concerning lacerations, steel sprue, pressed basket, desires to be lifted, unexpected component, a shocked woman. 

Chunk glass, falling monoliths

Image credit: María Rincón

All of the seams of my clothing, Aqua Resin on copy paper, expansion cement, birch, middle gray, 2016

Memory of some pressure over fruit, unfired porcelain slip, gold leaf rock trap, BB's with exposed spine, sliced wedge, 2016

Memory Foam, Aqua Resin, and impressions from 2 bodies, 2016

Memory of a tiptoe, an excavation, expansion cement, stolen doorstop, reproduction glass, graphite crucible, paraffin wax, accidental steps, shared machine part, tree pruning sealer, memory of an unfair necessary, corning wax bite, Maple, tack cloths, the positive of language, packing foam, binder clips, unfired porcelain, handmade lead tubing, a paperweight, granite dust from a monument making shop in Queens, fine bone china rims, when all the color goes away, rubber cast of how to move in 1939, lined paper tray, gift wrap tape, an earring back, dinner plate fragment, silver approximating thread, compressed pewter, the insides of jingle bells, unfired porcelain with dye transfer, Plexiglas, a small city on quick wood, fragment of a glass crucible from Kokomo, IN, fragment of a glass kiln from Kokomo, IN, sinking pewter, Friendly Plastic, Quick Copper, all about timing, bb’s, muslin, half a bouncy ball, a pin back standing in for “seeing the future,” Memory Foam, Aqua Resin, marble dust, red cleaning camouflage, chunk glass, potluck stone, Birch plywood, brads, Super Paint, traction tape, my middle gray, 2016

Memory of a bellybutton, Rockite expansion cement (interior view), the positive of language, kitchen countertop fragment points, Memory Foam, specific blue, point of orientation, chunk glass from Kokomo, IN, all of the seams of my clothing, How to Be Alone, household paraffin wax with a friction scar, Quick Aluminum, tongue depressor wall, unfired porcelain slip, remnants of a subletter, pierced collectible plate, landmark erasure, pierced dinner plate, memory of a pattern, pressed lead basket, conductive thread, Maple, granite dust from a monument making shop in Queens, tack cloth twice, unfired porcelain run through, limited fist depression, accidental aperture, photo corner sound, fragment from a glass kiln wall, double wax bite, muslin, bb’s, handmade lead tubing, red marking chalk hint, learning Spanish, Memory Foam, gently used corsage pin from a book on meditation, memory of Easter, language ball, paper clay, graphite, and iron powder pinch pot, localized swelling, paper clay and unfired porcelain pinch pot, localized sinking, favorite sculpture never seen, the unique ballerina, Birch, proximity to middle gray. 

Memory of wrestling breath, handmade lead tubing, Memory Foam and granite dust from a monument making shop in Queens, a broken headstone, the positive of language pinned, kitchen countertop fragment, rescued aluminum, slowest collapses, eyes that can’t see, chunk glass from Kokomo, IN, a warm mistake, Memory Foam and Aqua Resin, paraffin wax, labor of an unknown woman, Yule Log cake pan, steel practice wedge, floor paint, 2015

Swollen shelf, a fault line, a light switch, pierced tongue depressor, dye transfer on unfired porcelain, unfired porcelain and a rubber band from the deceased, Silly Putty, compressed end grain of a 2 by 4, 2015

10” by 4” by 16’

Expanding wedge, handmade lead tubing, blue marking chalk, impression of a pointer finger, wall paint, 2015

Dimensions variable

Photo credit: Taryn Haydostian

TimeMist classic metered aerosol fragrance dispenser, batteries, Home Sweet Home scent, permanently sealed plexiglass box, 2015

Permanently sealed Red Oak box containing previous works and personal objects. The X-ray reveals the interior format. The accompanying book contains 300 lines detailing the contents of the box. 

Photo credit: Taryn Haydostian

Bronze, pine, aluminum powder, Birch, audio track of assembly, audio track of disassembly, X-rays, 2014-2015

Memory Foam and Aqua Resin, aluminum, steel

Photo credit: Taryn Haydostian

Memory Foam, granite dust from a monument making shop in Queens, steel, 2014

Self portraits shot through the wear marks in my family’s old washcloths

Dig, digital video with sound, 2012

Dryer lint from my sweater was collected and pressed into a costume jewelry mold. The resulting object is placed back onto the site of loss as adornment. The object and the sweater cling to each other by their fibers only, until one inevitably falls away.
2009

A lost button, cast in place where it was found, and sewn back on to the site of loss.

Sterling silver, cotton, steel
2009

Discarded strands of hair were collected, rolled into balls, and placed back onto the site of loss.
2009

Dress video
Three digital videos with sound
2004