300yds of relief printed paper on building facade
Photographs courtesy of Guido Maus.
With this project, I wanted to make an installation that occupies the space between public and private, and one that grappled with the history of downtown Birmingham. Riot began as a meditation on the power of the sidewalk and the problem of access. Pushing into the city, one skein at a time, it thickened a property line into the sidewalk. It's a piece about being outside and wanting to be inside.

Each sheet of paper was hand printed from a rubber cast of a section of sidewalk as long as one stride. Using broken glass (the same pieces that I trace to build my drawings) as a template, I sliced the sheets to break this measure. The resultant shards of paper were adhered to the storefront glass in varying thicknesses. These layers become a thick skin over the building, sealing it from the city, but ultimately fragile and exposed--a probable victim to a heavy downpour.
July-August 2011
beta pictoris gallery,
Birmingham, AL
On the evening of the opening, one person punched through this skin to enter the show and subsequent visitors witnessed this act as they walked across the threshold. Inside, the piece is exposed for what it is: what seemed opaque is translucent, a collage drawn with filtering light. Loose corners of paper and the motion of cars on Second Avenue shake the work, curtailing clear vision through the facade.

Riot shares a sense of anxiety and compressed geology with the Massive Gypsum at Generator Projects in Albuquerque, NM and the sculpture Oscuro in my installation Duende at the Instituto Cervantes in NY. It is the most two dimensional of this sequence, the most experiential and the one that dies the most quickly. Over the course of the show, Riot was designed to slip and disintegrate, aided by sun and rain, returning to a mash of pulp and leaving a bright and sunlit gallery behind.