July 1, 2015 - Entropy

“The future is the obsolete but in reverse.” – Vladimir Nabokov

Although in his essay, Entropy and the New Monuments, Robert Smithson discusses artists that previously felt I did not have much in common with such as Donald Judd, Sol Lewitt and Robert Morris, I’ve uncovered elements that I believe are important to my work. Specifically, the ideas of making monuments built against the ages rather than for them, where time precedes space as a conceptual concern, and exhibit a desire for the creation of surface structures.

I see my installations as a kind of monument, not to what has been or will be, but rather to an idealized version of a place I would like to exist. They simultaneously reference symbolism and schemas of the past and present while also depicting something disorienting and unfamiliar, much like the way I imagine a glimpse of the future would look to someone of the past.

I would like for my sand work to begin to emphasize the passage of time in juxtaposition to its ephemeral nature. I started the first in a series of experiments exploring different ways I can achieve this through documenting the destruction of sand paintings.