My current work springs from years of art practice focused on speculative investment in materials and objects in relation to their economic and cultural impact. This varied, process-oriented practice demonstrates interest in the art object as trigger and emblem for forms of exchange. In a series of recent works, gold dust, which carries a precise value by weight, is used as an index to quantify the value of a given space. I have used this material for works with Cabinet magazine (Summer 2013) and in larger site responsive exhibitions for the Portland Institute of Contemporary Art (T:BA 2015) and most recently in the Museum of 500Meter Sapporo Japan (2016-2017). I have also begun to employ pyrite (fool’s gold) rock and powder to address seduction itself and mistaken appearances that have led to historic disappointments and the continuance of lost causes. I use video and photography to catalogue the fleeting sculptural formations of this entrancing material mutating before the camera. The event is then recast as a visual and poetic double, retracing the temporal act through mediation and reinsertion into or across sites.
In past work I have also employed sculptural tools to divine locations for hidden qualities of wealth in real and imagined spaces. These include objects that have been used to dowse for potential mineral wealth beneath the floor of SculptureCenter’s cavern-like basement among other sites. I have also employed gold security blankets to function in iteration between their formal display as discrete objects and their use by audience members. Their unique visibility highlights their aggregation and displacement by the audience or artist in relation to an exhibition space. My past work including Neutral Capital and the Neutral Capital Collections have established new economies for art and collection that parallels between the world of global finance and the art market. This varied, process-oriented practice demonstrates interest in the art object as trigger and emblem for forms of exchange. Situated in moments of slippage and interchange, my projects evidence the volatility of art objects, which are on one level, cash with which to trade and invest, and on the other, art—the mysterious objectification of reflection, imagination, desire, and promise.