Hiding in Plain Sight 2005
2005


Four sculptures are presented: a bear rug cast in aluminum, a bale of hay cast in bronze, a wagon wheel made of mirror, and a campfire made of neon lights and plastic.
"All these images come from my childhood, a childhood so “ordinary” and American that I have a hard time distinguishing personal memories from the primordial cultural soup that spawned them. The bear rug was a trophy from one of my grandfather’s mysterious hunting trips, but it could just have well have been bagged by Davy Crockett himself. Bales of hay fed nearby horses and cattle, but also signified cinematic hoe-downs and dirty-joke rolls in the hay. The Girl Scout campfire is the addled signpost advertising the spot where pleasant suburban myths of girlhood crashed up against my imperfect simulation of my own life. The cheesy wagon wheel for me is equal parts romantic lost west and tacky entertainment."
The post-modern theoretical debate on the value of the copy versus the original is referenced. The use of precious or precious-looking materials reveals the intense nostalgia for and belief in the integrity, even innocence, of these objects. New meaning becomes revealed through transformation and the transformer. These images become hardened monuments to sense and memory. The tactility of the fur rug becomes frozen in aluminum. The motion of the wheel is stopped, leaned against the wall, and only present in its reflection of the viewer. The fragility and temporality of the hay is immortalized in a classic, historical medium. The campfire's warmth is falsely replicated in a chemical mostly used for advertising.back