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As one walks around the platform the top is revealed and the room is bathed in a deep twilight blue. The viewer discovers exposed roots and cut branches lying atop a dead field of grass that leave an impression of implied  ending. Bushes and trees are pulled from their environments, and a sense of death and sadness exists alongside celebration (the color saturated flowers). It is a forgotten landscape. Flowers and roots are strewn about as if thrown aside or windswept. Here we find a place that was once cared for and attended to and now are faced with the effects of time and perhaps neglect.

Grasses  found in nature vary form  wild and untamed to a  perfectly manicured sod landscape.  In Summerland, the grasses are made not of organic material but of plastic that has been coated with pigmented wax, lending a sort of second skin to the objects.  They are arranged in an orderly grid  and sprout from the vertical wall further imposing the man-made upon them.

Photographs  are images of  decaying and fading flowers whose petals are losing their color and becoming a thin transparent membrane. We are reminded of our own skin and its transformation over time. These images are seen alongside views of a lush constructed environment whose boundaries between “original” and manufactured nature are yet unclear.