Interspace consisted of 320 red and yellow lines of monofilament woven across the Chastain Arts Center’s City Gallery. The lines connected to eight rectangular forms similar in size and shape to the windows that surround the outside of the gallery. The crossing lines created new areas that when entered offered different views of the space and the work.
Place was the first in a series of work using shaped forms as part of the installation. Using simplified house forms as attachment points, new places were cut out of the existing space. Viewers walking through the installation could enter into each place, each time altering how they were interacting with the work and other viewers. The work was constructed by stringing approximately 24,000’ of monofilament between 2288 eyehooks.
Canted was based on two columns in the Burroughs Wellcome Gallery. By repeating the columnar form at a variety of angles, movement through the room was altered and perception of the space skewed. The monofilament added to this effect, creating forms that appear light and translucent but act to inhibit motion.
Designed specifically for the UICA entryway, Aloft consisted of 168 lines of monofilament crossing in a multiple layer weave pattern. The monofilament was attached to lengths of aluminum channel to reference the aluminum molding surrounding the windows behind the work. The subtle differences between the two sides changed the visual movement of the work, pulling the viewer around to view all sides and the underneath.
Focus consisted of eight tubular forms that cross the room at varying angles. The monofilament was strung between circular supports that are based on the pipe that runs the length of the ceiling. Repetition of this form created both physical interference and visual interest. Walking through the room, the forms subtly guided movement, and the lines activated numerous focal points.
This large-scale installation was installed in two rooms that make up the Dalton Gallery. The first room, used frequently as a meeting space, had 48 lines of monofilament strung above head height. The movement of the lines mimicked the lines in the second room. In the larger, second room 304 lines were attached horizontally over two windows, four doorways, and two areas of wall space. From these points, they were stretched to the center of the room where they were attached vertically to a column. The attachment points on the column went down to the floor creating eight triangular forms that physically cut into the space, dividing the room.
Portal was located in a corner of the main lobby of the Elon University art building. The work was designed around a curved drop ceiling that encircled the corner. The monofilament lines were attached to the baseboards and curved ceiling. The result was an oval shaped opening that could be entered.
Installed in two rooms, this work was essentially two works that were separate but united. Room 1 consisted of 116 lines of monofilament. The lines were horizontally attached to the dominant architectural element of the room, three large windows. The lines crossed over and attached vertically to the doorway leading into room 2. This created a center archway, with two ghost arches on either side.
Room 2 had 83 lines of monofilament dividing it. Twenty-five of the lines ran horizontally between the doorway that lead to the hall and the doorway that lead to room 1. The other lines were attached horizontally at the doorway leading to room 1 and vertically to the four windows in the room. At each window, the number of lines was increased. When a viewer entered from the hallway, the lines directed them toward room 1, then around room 2 until a wall of monofilament stopped their movement.
Three hundred and fifty-three lines of monofilament both blocked an area and created new spaces. The lines lead the viewer into the newly defined spaces by determining the entrance and exit points. The lines overhead served as a guide to one entrance but the crossed lines inhibited access. A second entrance was accessible by walking through the surrounding galleries.
Three hundred and forty-eight lines were installed in this space. The lowest point was 7’ and the highest was 17’. Two sets of lines ran from the two front corners; one set to the back wall and one set to the balcony. A set of lines also ran from the back wall to the balcony. These lines crossed each other lowering the ceiling height of the main room, altering the area in front of the balcony and bringing attention to the areas where the lines contacted the walls and the balcony.
As part of group show of 27 invited artists, I created an installation titled Segment. The monofilament created a pie-shaped room that, when entered, changed how people viewed the surrounding space.
The gallery was divided into four triangles, each consisting of 24 lines of monofilament. The lines were connected to the vertical and diagonal support posts in the gallery. The connection points were separated by 3” at one corner of each triangle and ¾” at the other corners. By attaching to the existing architecture and varying the spacing, the forms were all slightly different. As the viewer passed through the environment, the angles and layers of lines merged and separated, creating a confusing, ever-changing passage.
Twenty-eight strands of monofilament were strung horizontally to enclose an area of a loading dock. The lines mimicked the rectangle of the dock but in reverse. This closed off the back of dock creating an enclosed space, removing the loading dock’s usability and altering movement through it.
Ninety lines of monofilament were attached to the frame of the center window on the left wall of an enclosed porch. Eighteen of these lines were then attached to each of the five windows on the center wall, stepping up with each window. It appeared to be a singular flat plane, but as the viewer walked into the work, the stepped layers became apparent, affecting the viewer's depth perception.
Sixty-six lines of monofilament were connected horizontally at one end of the gallery and vertically at the other, creating a twisted plane. The work intruded into a heavily trafficked area. The invisibility of the monofilament line slowed the initial comprehension of the work, resulting in physical contact.