“A room should not be fixed, should not create a static mood, but should lend itself to change so that its occupants may play upon it as they would upon a piano.” -Buckminster Fuller

    My work explores the psychosocial aspects of constructed space through the intersection of drawing, painting, and sculpture. I am interested in the space between construction and destruction, and the ambiguity of these two forces. The linear elements in my work direct the navigation and experience of space, creating pathways and fixing in place the fluidity of the spills, stains, and pours that often appear. The work often remains on a scale akin to architectural models or mock ups, pristine master plans, yet the deconstruction of space and forms as well as the organic, uncontrolled pours begin to shatter this ideal blueprint. The pairing of these two methods of mark making reflects the paradoxical power of architecture. That is, it appears fixed and solid but is always changing in response to the lives around it.

    The work is informed by the imaginary, conceptual and radical buildings of visionary architects. I am interested in how these inventive building types often aim to create new relationships between people and the landscape they inhabit, but also in how many of these visionary projects fail. What do these visions and their shortfalls say about our society? My work is in a direct dialogue with this method of working, using visual-spatial models to discuss practical and philosophical problems about the lived in, built environment.

    My site-responsive installation at the Cyclorama in Boston, Massachusetts is inspired by Buckminster Fuller’s geodesic domes, characterized by their inherent geometric stability and efficient use of space. In this work I am responding directly to Fuller’s triangular lighting grid hanging in the center of the Cyclorama. Its bold, black forms are an anchoring presence in the space and serve as a template for the design of my work. Furthermore, each element is based on the same basic structures and systems, following the universal design principals of Bucky Fuller’s work. In the installation, a modular structure made of triangles is unpacked from a simple four walled construction resembling a house. The triangles, based on designs for geodesic dome houses, are meant to create shelter, but the way in which they are assembled pushes against their “inherent stability” and intended function. The triangular form of course is not in itself an invention of Fuller, but one of nature’s most basic forms and forces, given prominence in Fuller’s designs. Given its elevated role in Bucky’s world, it serves as the dominant element and footprintfor all forms in this installation. This piece acts as a drawing in space, creating a new system utilizing the language of two dimensions in a three dimensional framework. The use of cardboard, plastic, simple adhesives and mechanical connections speaks to the universality and accessibility designed into Fuller’s work, but the “misuse” of his designs creates tension and reveals a desire to push against the idealism of his plans.