The first seven images all involve variations on the same process: First, I cut channels in the surface of the foam with a router; I then pour plaster into these channels and allow it to set. The piece is then flipped over and the process is repeated on the other side(s). When all sides are done, areas of foam may be cut away to further reveal the plaster structure. In images 1, 4 and 5, the foam has been left unpainted. In images 2,3,6 and 7 the foam was painted before being cut into. In images 6 and 7 two separate sections have been slotted together.
1) Foam insulation, hydrostone.
30”x25”x4”. 1997
2) Foam insulation, acrylic paint, hydrostone.
29”x49”x4”. 1998
3) Foam insulation, acrylic paint, hydrostone.
29”x49”x4”. 1998 (detail)
4) Foam insulation, hydrostone.
30.5”x96”x6”. 1998
5) Foam insulation, hydrostone.
30.5”x96”x6”. 1998 (detail)
6) Foam insulation, acrylic paint, hydrostone.
48”x96”x48”. 2003
7) Foam insulation, acrylic paint, hydrostone.
48”x96”x48”. 2003 (detail)
The pieces in images 8,9 and 10 grew out of those in “Bags and Slipcovers” 12-17. Abandoning the slip-covers, I focused on developing the relationship between the plaster and foam. In these pieces, the plaster form is larger and more ornate (resembling cave formations etc.). Also, the plaster is physically separate from the foam and hangs directly on the wall. The foam panel (on which many layers of acrylic glaze are applied and allowed to drip) is then placed over the plaster through a hole cut in the foam’s surface. As with many of the works in this sample, the terms of image/ground; support/surface; picture/thing become confused and interchangeable.
8) Foam insulation, hydrocal, acrylic paint.
79”x69.25”x11”. 2001
9) Foam insulation, hydrocal, acrylic paint.
79”x69.25”x11”. 2001 (detail)
10) Foam insulation, hydrocal, acrylic paint.
85.5”x70”x9”. 2001
