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A SETTING, TABLEAU


"A SETTING, TABLEAU - Nº 1"
pictured with "HOMAGE TO LE SOL"

sandpainting as sculpture:
paint, sand, wood, sandbags, and faux plant

420 L x 305 H x 75 W cm
(set of three objects)

2015 

and 

"HOMAGE TO LE SOL" 
(white grid object)

wood, paint, and nails

160 L x 120 H x 25 W cm

2015

photo: Isabelle Arthuis








"A SETTING, TABLEAU - Nº 1",
1 of 2 LARGE SIDE PANELS

sandpainting as sculpture:
paint, sand, wood, and sandbag

98.5 L x 258 H x 75 W cm

2015





"A SETTING, TABLEAU - Nº 1",
1 EXTRA LARGE, MIDDLE PANEL

sandpainting as sculpture:
paint, sand, wood, and sandbag

153 L x 305 H x 75 W cm

2015





DETAIL Nº 1 of
"A SETTING, TABLEAU - Nº 1",
1 EXTRA LARGE, MIDDLE PANEL








"A SETTING, TABLEAU - Nº 2"
(two of three panels pictured) 
with "HOMAGE TO LE SOL"

sandpainting as sculpture:
paint, sand, wood, sandbags, fiddle-leaf fig plant, 
palm and faux plant




"A SETTING, TABLEAU - NO. 2"

sandpainting as sculpture:
paint, sand, and wood

420 L x 220 H x 4.5 W cm
(as a set of three)
or
115 L x 228 H x 4.5 W cm
(2 medium side panels)
and
115 L x 138 H x 4.5 D cm
(1 small middle panel)































DETAIL Nº 1




DETAIL Nº 2




DETAIL Nº 3



"A SETTING, TABLEAU"

2015

SANDPAINTING AS SCULPTURE, PLANTS

A setting, a tableau of animation and re-animation. The plants, vases, and lamps become flat; a colored light pushes through and flattens them, eliminating the fore-, mid-, and background; an elimination of hierarchy.

Resistance of the status quo through desire: resistance through desire, in the act of creating beauty.

What is the relevance of art? What is the value of art and object-making when there is suffering: diaspora, homelessness, starvation, mental illness, physical assault on the streets (as police drive by?)

...to make art full-heartedly as a means to invent and defend a space, for these and other questions to be posed. How does one maintain this space for such questions to be repeated and defended?

Power of example: South Central guerilla farmer, Ron Finley, creates an anamorphosis of two spaces: the public area - where no one saw the potential of soil along the sidewalk curb - and his created space via transgression within farming arable land for the creation of food, community, and education in his neighborhood. The city of L.A. tried to punish Finley with fines for his farming, for his act of transgression, which previous to this case, no such situation existed. Therefore, penalties could not be levied. The system therefore had to adapt to norms which the citizens created.

Additional interest: "The Power of Community: How Cuba Survived Peak Oil."