Activities for Orchestra / Poisoning Infinity — choreographic score for two dancers, framed 9 x 11 x 1, 2024
as building from a limit / (suffers / even after metamorphosis / There is a point at the center of a bird — Zongshen Dual Sport Motorcycle 200CC engine dissolved in lacrimal solution (false tears formulated by the artist), vitrine, 26 x 28 x 28, 2024. Title of the piece from a poem by Elizabeth Willis.
ECONOMY OF RELATION — flute last played by mother of the artist, previously dissolved in gastric solution (false stomach acid formulated by the artist), 26.5 x 2.5 x 2.25, 2024
The mutilation of a swan. The mass production of bells. — image of Ulysses Wildfong performing choreographic work of the same title dissolved in liquid fog, Borgova 500W fog machine, found copy of “The Battle for Warsaw”, two mass produced metronomes from the collection of the artist, found bird form bell, dimensions variable, 2024
These flutes are very pleasant to work with and repairing them is a pleasure. They are pleasant to hold in your hands and they obey the master. They are not at all capricious. I speak as a master with 33 years of experience. — 5 fluorescent lights, electrical timers each set to intervals of 15-20 seconds (the amount of time the brain can function without blood flow, the time it takes to deseed a pomegranate, or to tie shoes), mass produced bells from the collection of the artist previously used in “Sequence for fish processing vessel” performance, theater curtains, false snow, all the birds of Pittsburgh, all the fish of the Allegheny, salt, dimensions variable, 2024
The collecting of horse meat. Marrying one’s sweetheart. Everyday chores. — torn page from “The Battle of Warsaw” depicting everyday life and its distortion during wartime, steel, plexiglass 1 x 1 x 1, 2024
A man must pass through his own ghost. A guest must pass through his host. To enter, the viewer must divest themselves of their flesh. — various glassware removed from local bars, clubs, galleries and houses, various global currencies, mass produced costume blood, vodka, hydrochloric acid, whiskey, acetone, salt water, motorcycle components delivered to artist in a plastic bin, cardboard boxes used to transport the exhibition, paint, dimensions variable, 2024
american depression — ventilation system congested with disassembled flutes to alter the air that passes through them, to inebriate any attendees, to nullify any electric field, 2024
Continuing an earlier proposition — clock mechanism previously dissolved in bleach, vitrine, 11 x 17 x 5, 2023-2024
Proposition for Assembly — found objects from the collection of the artist with the stipulation that they must emit or collect light, electricity, or any other various fields, however broadly this may be defined. Objects include embalmed electric eel, whale oil lamp, fluorescent bulbs from the artist’s previous studio, brass cow bell, lightning rod ball chamber to collect and disperse electricity, and shells for the making of fireworks. Objects were also collected from other artists, including small oil lamp on loan from David W. Norman and pigmented cast silicone gifted by Craig Jun Li, cardboard boxes used to transport the exhibition, and paint, dimensions variable, 2024
Unknown Orchestral Activities — found photograph after a wedding, found photograph of unknown orchestral activities, photograph on rag from Negative Ecstasies, found Welsh love-spoon, which is a traditional object given between betrothed couples, vitrine, 20.5 x 30.5 x 7, 2024
Syntax of The Flood — clock mechanism previously dissolved in lacrimal solution (false tears formulated by the artist), vitrine, 11 x 17 x 5, 2023-2024
Have we overstayed our party in the heavenly city or are we spilling through its gates trying not to get trampled? On the berm I filled a basket with crashing birds. In the dream you pointed sideways with your thumb where the cars were flying — broken anniversary clock, pelvic bone and spine from unidentified mammals found in the Sonoran desert, broken trumpets played by the artist, lacrimal solution (false tears formulated by the artist), motorcycle components, and water in prefabricated tanks, dimensions variable, 2024. Title of the piece from a poem by Elizabeth Willis.
Letter to a fish — letter written by the artist to David W. Norman concerning the work and nature of this exhibition, which he was then commissioned to transcribe into his own handwriting, ink on paper in frame, 12 x 18 x 1, 2024
Preparation of a poisonous fish — for 1-2 performers in variable configurations, water, stage, and lighting, 17—41 minutes respectively, 2024
Music for Assembly — Two channel sound installation (24m01s), the box pro Achat 204 WH speakers, church pews ca. 1750, dimensions variable, 2024
Music for the fluorescent lamps of Europe — Performance object. The gallery's lights are removed for the duration of the exhibition, tied in a bundle with violin string, and placed on pews, dimensions variable, 2024
Parliaments of the living — lights collected from various locations of purpose, each set to an automatic incremental timer, dimensions variable, 2024/2025
the host / Music for Assembly— church pew gifted from Chiesa di San Luca, electronic motion pounder, prop control motion trigger, 145cm x 79cm x 93cm, 2025
CHOIR OF MAN / Parliaments of Stone I, II, & III — materials not listed, 50cm x 12cm x 9cm/67cm x 12cm x 9cm/108cm x 12cm 9cm, 2025
First chamber of the house / the administration of plurals — clock mechanism from the collection of my grandfather previously dissolved in lacrimal solution (false tears formulated by the artist), various musical components, antique player piano sheet music cases, enamel, display cabinet, 151cm x 35cm x 32cm, 2022/2023/2025
Second chamber of the house / the administration of plurals— clock mechanism from the collection of my grandfather previously destroyed in a fire, found clarinets, plastic tubing with lacrimal solution, photograph of Alex Hovi performing “Preparation of a poisonous fish”, display cabinet, 151cm x 35cm x 32cm, 2022/2023/2025
The digestive qualities of photography and performance / the pain / of others is a weapon of great skill / and pleasure — photograph of Alex Hovi performing “Preparation of a poisonous fish” ingested by the artist, the resulting urine of which was then collected in vials, vitrine, 26cm x 26cm x 26cm, 2025
Assembly Ephemera I, II, III — documentation of NEGATIVE ECSTASIES (performed by Courtney Mackedanz, Kim Upstill, Lizz Smith, Max Buzone, Micah Schippa-Wildfong, Noël Morical, and Ulysses Wildfong) and Preparation of a poisonous fish (performed by Andy Slavin and Alex Hovi), giclée on deep metallic photo paper, framed, variable, 2025
an infinite room, but still a room — photograph of choreographic work of the same name (performed by the artist), dissolved in liquid fog, Borgova 500W fog machine, broken clarinet parts, deconstructed floor lamp set to incremental timer, dimensions variable, 2025
hope without hope — clock mechanism from the collection of the artist’s grandfather previously dissolved in lacrimal solution (false tears formulated by the artist), unframed, 2025
Everness — men’s brogues, robotics, programmed to traverse a space in circles, technical engineering by Yusuf Shamma
Untitled — giclée on deep metallic photo paper, framed, 16 x 12 x 1, 2025
Untitled — giclée on deep matte photo paper, framed, 16 x 12 x 1, 2025
Displacement for Choir — The contents of a nearby abandoned industrial building are selected by the artist and transported to the gallery. Ideally the building has some poetic, weighted, or storied provenance, or otherwise is completely devoid of any significance beyond its abandonment. Once the contents have been transported to the gallery and arranged in an unnerving way, which is open to interpretation by the artist or curator, a children's choir is invited to sing around the objects for as long as the gallery will allow. The songs should be liturgical or traditional in nature, otherwise there is little restriction of what should be sung, various industrial objects, choir, dimensions variable, 2025
Score for an excised and anxious city — A piece of music is written and recorded for a horn quartet. Each note of the piece is independently recorded and placed in different locations so that the composition has become spatialized across the municipal boundaries. The composition is largely built around slow moving harmonies that circle a main melodic theme, not unlike a fugue, that becomes more dissonant with time, and is roughly the length of a full working day. The volume is such that only a few notes at a time might be audible across the distance of a kilometer or, that is, any distance great enough for one to feel cut off from others, variously placed speaker systems, city, 2025
The Politics of Affection — ionized lacrimal solution (false tears formulated by the artist), electronic curtains, 15 min audio loop
The Politics of Affection — two channel 46 minute video, looped