Nickels and Pennies
Coins are miniature low relief classical sculpture that we handle and carry with us daily, yet their quality exists only as legal tender, not art. We finger and select them blindly, never making the effort to really look at them. They pass from person to person, circulating endlessly, their lines slowly eroding as they rub against each other in a pocket. Likewise their imagery has almost ceased to matter, a vague recollection of something once learned.
‘A scene illuminated by a lightning flash (of the order of magnitude of a
thousandth of a second) is seen even in this brief moment to have depth.
Objects are seen in relief, in actual relation as to distance and in normal
perspective, even under the extremely brief illumination of an electric spark.’
What I have painted: five pennies and seven nickels. I stopped at twelve as it totaled nicely to forty cents. This equaled three works on a wall with even, open spacing: letting each painting breathe; subtle to more iconic while retaining a sculpturality. The coin paintings are objects close to home, a simple narrative, a desire for a fine focus.
‘It has been shown that at least part of the information received by the optical
nerves is routed through and affected by the memory before it reaches the part of
the brain that deals with visual impulses (input). Now Rene Dubos discusses the
distortion of stimuli: we tend to symbolize stimuli and then react to the symbol
rather than directly to the stimuli. Assume this to be true of other senses as well…’
1 Page 106 in Visual Illusions: Their Causes, Characteristics and Applications, by M. Luckiesh, Dover Publications, New York, 1965.
Originally published by D. Van Nostrand Company and Constable & Company, Ltd., in 1922.
2 Intro to the article “Notes and Projects”, originally published in Art Forum 9, no 4 (70): 44. Reprinted in Bruce Nauman: Art and
Performance, pg 318, edited by Robert C Morgan, Johns Hopkins University Press, Baltimore and London, 2002.
Born in Pittsburgh, PA in 1980.
Lives and works in Los Angeles.
MFA Sculpture, University of California Los Angeles, 2007
Vermont Studio Center, 2002
BA Studio Art, Bard College, 2002
Glasgow School of Art, 2000
“Wet Paint”, Steve Turner Contemporary, Los Angeles, CA
“Nickels and Pennies”, Light & Wire Gallery, Los Angeles, CA (solo)
“The Chef’s Theory”, 533 Gallery, Los Angeles, CA
“Lovable Like Orphan Kitties and Bastard Children”, Green Gallery East, Milwaukee, WI
“Memories and the City”, AIR, Pittsburgh, PA
“HEAVY Corner”, CAA Art-Works, Los Angeles, CA
“Some Paintings: The Third LA Weekly Annual Biennial”, Los Angeles, CA
“MFA Thesis Exhibition”, UCLA, Los Angeles, CA
“Bronson Tropics”, Pauline Gallery, Los Angeles, CA
“BasementStudios: Inaugural Group Show”, Kingston, NY
“Easy Does It”, North Side Hospital Park, Pittsburgh, PA
“Passage”, The Skinny Building, Pittsburgh, PA (solo)
“Kingston Biennial: 2003”, Kingston, NY
“Built Right Wrong: Senior Thesis Exhibition”, Bard College, NY
“Space Matters”, In Conjunction with Bard College Center for Curatorial Studies, Bard College, NY
“Abroad: New Works”, Bard College, Annandale-on-Hudson, NY
Mrs. Sidney Temple Scholarship for 2006-2007, UCLA
D’Arcy Hayman Award for 2005-2006, UCLA
Milton and Sally Avery Scholarship in the Arts for 2001-2002, Bard College
Hane Fromm Yacenda Scholarship in the Arts for 2000-2001, Bard College